艺术进入社区的优点或特点/未来艺术介入社区的治理方向

Art intervention has emerged as an innovative pathway for community regeneration, significantly enhancing physical and socio-economic conditions, yet its specific impacts on community resilience remain underexplored. This study proposes an evaluation framework that integrates the BRIC community resilience model with key dimensions of art intervention. Taking three typical art villages in suburban Beijing (Feijia, Xiaopu, and Xinzhuang) as cases, 452 questionnaires were conducted. The coupling and coordination model was used to analyze interactions between subsystems, and the obstacle factor model was employed to identify barriers to their synergistic development. The results show that: (1) There is a significant positive correlation between the degree of art intervention and community resilience. (2) The coupling and coordination degree exhibits distinct stage differentiation, with art intervention directly affecting its level. Xiaopu Village has the highest coupling and coordination degree (0.8004), followed by Xinzhuang Village (0.6914) and Feijia Village (0.6400). (3) Key obstacles include participation in art activities (9.2%), influence of interactions (9.0%), cultural literacy (8.5%), use of art spaces (7.2%), and industrial influence (6.3%). This study establishes a novel theoretical framework for the synergy between art intervention and community resilience, offering practical strategies for sustainable urban village revitalization.

This article introduces a culturally grounded methodological framework for community art therapy research in Caribbean communities. Integrating arts-based research, community-based participatory research (CBPR), and radical reflexivity, the framework was developed through ongoing fieldwork and co-designed interventions with local collaborators. It addresses methodological challenges at the intersection of structural vulnerability, cultural relevance, and emotional accountability in postcolonial contexts. Community art therapy is positioned as both intervention and epistemology, emphasizing visual journaling, positionality work, and creative co-authorship. Art is treated as a valid form of embodied, relational, and affective knowledge, resonating with Caribbean expressive traditions. The framework demonstrates flexibility in the face of climate-related crises and prioritizes ethical engagement through sustained community partnerships, iterative feedback loops, and culturally responsive analysis. This paper contributes to qualitative methods by advancing a model of research that centers care, creativity, and cultural humility. It offers scholars and practitioners an adaptable approach to knowledge production in contexts where conventional methodologies may fall short. By embedding reflexivity and co-authorship into every phase of the research process, the article expands how rigor, ethics, and relevance are conceptualized in participatory and arts-based inquiry.

Community art activities are widely used and encouraged in the aging industry, and their long-term growth has become a current study focus. In today's increasingly urgent global aging crisis, it is critical to renew the elderly's zest for life and enhance their quality of life via creative activities. This essay will look at the integration process and long-term growth of community art activities in the aging industry. Community art events allow older people to express themselves and engage in society via a variety of art genres such as painting, music, and dance. This not only improves their quality of life, but it also successfully supports the community's cultural and spiritual civilizational growth. Second, creative activities may be used as a soft intervention method to improve the mental health of the elderly, such as by reducing depression and improving cognitive function. Integration of community art activities necessitates collaboration among the government, communities, and civic groups. The government may encourage and support the growth of creative activity by developing appropriate policies and giving financial assistance. To ensure their long-term viability and effectiveness, community institutions and civic organizations must commit to particular activity execution and administration. Sustainable development is essential for the effective integration of community art activities within the aging industry.

Abstract: Social pedagogy stands out as an interdisciplinary field concerned with social and educational interventions, which aim to facilitate human well-being by preventing and improving the deficiencies that lead to the achievement of individual potential and adaptation to society. The practical-applicative nature of social pedagogy involves the involvement of interdisciplinary teams of specialists in approaches aimed at identifying people or communities in difficulty, including, analyzing problems and effects and outlining customized intervention strategies in order to provide experiences aimed at optimizing the capacity of social adaptation. The methodological spectrum of the intervention plans has flexibility and allows applications with different degree of amplitude following the individual axis – community – society. Given the methodological diversity of social and socio-educational intervention projects, in this paper we will focus on strategies based on artistic activities. We will bring to the fore the impact of art consumption from both perspectives, of the warm universe related to the individual creator of artistic products and the cold universe, which reflects the valences of consumerism. In addition, we will highlight the potential benefits of involvement in artistic activities, referring to research evidence that has confirmed the link between art and improving quality of life across multiple sectors of private or community life. Art-based interventions respond to a high degree of applicability, for this reason we have summarized to offer some examples of community projects that capture the innovative approach of urban and rural regeneration on Romanian territory. Key words: arts, intervention projects, social pedagogy, individual, community

This paper contributes to a reflection on the relationship between community development and performing art. It discusses the possible effects of a community theatre with regard to social and cultural capital, social inclusion, and audience development in Turin (Italy). This form of artistic production can promote social ties and participation in cultural activities and increase social and cultural inclusion, key values in community development. We examine audience characteristics, development, and appreciation as the primary indicators of success, as perceived by selected stakeholders, within the context of a single case study. The intervention involved a heterogeneous audience of people who usually do not participate in neighbourhood activities and/or attend artistic-theatrical performances. As stated by the stakeholders, the project was appreciated and its impact on the citizenry was positive, particularly for the cognitive and emotional involvement and the heightened awareness of often hidden or unknown problems and resources. Limitations are also discussed.

 Mental health stigma is one of the main reasons why individuals do not seek mental health treatment, and it can lead to discrimination and alienation. Group art therapy is a successful and economical intervention option to address mental health stigma, specifically in rural areas like Phuthaditjhaba in South Africa. This article refers to a research study where a short-duration art therapy intervention was implemented with female students in Phuthaditjhaba, a densely populated and isolated rural area in South Africa. Using a reflective action research cycle the study found that a group art therapy intervention informs the group members of mental health stigma, its repercussions, how to prevent it, and how to heal from experienced stigma. Traditional healing objects and traditions were included in the intervention, making it an inclusive and less-threatening option for different cultures. A group art therapy intervention model is presented to serve as a possible process guide for art therapists who would like to address mental health stigma in group therapy. The participants have experienced mental health stigma in Phuthaditjhaba. Their visual stories of change capture the internal changes that took place for them as a result of the intervention. They are now more aware of what stigma is, it’s repercussions, how to prevent it and how to heal from experienced stigma. Group art therapy is a suitable therapeutic paradigm for addressing mental health stigma in rural areas of South Africa.

The benefits of art therapies on older people's health have been well documented. However, studies into the perspectives of pedagogues on conducting arts interventions are scarce and no empirical evidence of the views of professional pedagogues views have been published to date. In this study, seven professional art pedagogues were interviewed using a thematic interview approach focusing on the pedagogues' experiences of conducting arts interventions with a family caregiver and care recipient dyads. The interviews were analysed inductively using thematic content analysis. According to the analysis, three intersecting themes were found that both steered the pedagogical process and emerged from the process: holistic pedagogy, professional development and witnessing. The themes revealed a further understanding of approaches to the interviewees' teaching and the value of participatory community arts in practice. The pedagogues' experiences encourage art pedagogy to be acknowledged in a wider context within communities and healthcare environments. Further studies on interdisciplinary projects in collaboration with art pedagogues and healthcare professionals are encouraged.

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OBJECTIVES Loneliness is a public health issue among older adults. We designed an intervention offering 10 sessions with diverse artistic methods (ArtGran). This study assessed the effectiveness of ArtGran in reducing loneliness and its negative effects on health in community-dwelling older adults in 2022 in Barcelona. STUDY DESIGN Quasi-experimental study, with an intervention group (IG) and a comparison group (CG). METHODS The sample included residents aged ≥70 years from 6 selected neighbourhoods of Barcelona. In each neighbourhood, an IG and a CG was formed with participants who reported loneliness and without special mobility needs. The participants were referred from primary care centres, social services, and community health centres. We included 138 participants (IG = 63, CG = 75). We collected data on loneliness, quality of life (QoL-5D), mood, and self-perceived health before and after the intervention through validated questionnaires. To assess the effect of the intervention, we built Poisson models with robust variance and linear regression models. RESULTS At the end of the intervention, participants in the IG were more likely than those in the CG to be able to perform their usual activities without problems (adjusted prevalence ratio [aPR] = 1.22; 95% confidence interval [CI]: 1.02-1.45). Compared with the CG, participants in the IG attending more than half of the sessions had lower levels of loneliness (aPR = 1.36; 95%CI: 1.07-1.73), a better ability to perform their usual activities (aPR [95%CI] = 1.24 [1.05-1.48]), and higher happiness scores (β = 0.73; P = 0.01). CONCLUSIONS The effectiveness of the intervention was more pronounced when participants had high attendance. Our results suggest that high attendance of the ArtGran program was helpful in shielding older individuals from loneliness, fostering positive moods, and preserving their functional status.

Participatory art is increasingly recognised as a viable intervention initiative in engaging public participation for urban and community development, effectively addressing social challenges. This study selected 20 key articles published in the past 10 years from the Web of Science (WoS) and Scopus databases, covering diverse cultural and socio-political contexts. Through thematic analysis, it identified six core values, social empowerment and democratisation, multidimensional communication, enhanced community cohesion, local cultural identity, educational promotion, and economic benefits. Additionally, it highlights the four significant challenges, including political and commercial antagonism, social participation and acceptance, sustainability issues, and resource and funding problems. The findings provide practical guidance for policymakers, practitioners, and relevant stakeholders, helping to navigate complexities, maximise the benefits of this initiative, and address the identified challenges.

This interdisciplinary study examines community participation mechanisms in rural art interventions through the case of Yim Tin Tsai Village, Hong Kong. Employing a mixed-methods approach combining archival analysis and field observations, we comparatively assess three engagement frameworks: hierarchical governance, grassroots mobilization, and hybrid collaborative models. The research develops a Cultural Sensitivity-Resource Endowment (CS-RE) evaluation matrix to analyze intervention outcomes. Findings indicate that the hybrid model, operationalized through "expert guidance-community agency-institutional scaffolding" mechanisms, demonstrates superior performance in project implementation continuity, cultural authenticity preservation, and stakeholder satisfaction. The study contributes theoretical insights to participatory design literature while providing practical implications for sustainable rural revitalization strategies.

This study explores how community-based art education (CBAE) fosters social justice in the face of urban displacement. In YongHe, Taiwan, when redevelopment threatened a vital public space, a collaborative project mobilized residents and students to co-create participatory art interventions. This initiative cultivated a pedagogy rooted in commoning and citizenship, as artistic inquiry enabled participants to confront housing precarity, reimagine belonging and enact civic engagement. Grounded in social justice art education (SJAE), the project embedded art learning within a lived commons using arts-based participatory action research (AB-PAR). A central intervention – building a temporary structure called the Shell-less Snail in a public space threatened by urban development – critiqued technocratic urbanism and reclaimed space through collective creation. Ultimately, its civic impact earned national media attention, illustrating how collaborative art-making can cultivate civic agency and critical spatial awareness. It offers valuable insights for K-12 educators seeking to empower students as agents of systemic change and reimagine democratic urban futures from the ground up.

Introduction Art and museum-based interventions are gaining increasing recognition for their potential as low-risk activities for older adults, offering numerous physical, cognitive, and emotional benefits. However, there remains a dearth of knowledge regarding the science of implementation as well as the factors and processes that contribute to their effectiveness from the perspectives of intervention participants. Methods The current research draws on the qualitative evaluation data obtained from a larger mixed-method randomized control trial that evaluated a standardized Participatory “A”rt-Based Activity On “Health” of Older Community-Dwellers—the Singapore A-Health Intervention. Adopting a participatory action research approach, the primary objective is to critically examine the lived experiences and health impact of the Singapore A-Health Intervention with a secondary objective to uncover strategies for optimized implementation outcomes. All 56 participants who completed the intervention filled out a program evaluation survey and a nested sample of 30 participants completed a series of acceptability focus groups. Results Descriptive analyses of the program evaluation survey data revealed that 96.2% of participants were satisfied with the overall experience of the Singapore A-Health intervention (M = 9.00, SD = 1.76), reported that the intervention positively impacted their quality of life (M = 8.90, SD = 1.43), and social wellbeing (M = 8.92, SD = 1.43). Thematic analysis with a grounded theory approach on the qualitative focus group data revealed three interrelated themes detailing how the Singapore A-Health Intervention contributed to positive health and wellbeing outcomes (1. A-Health Experience, 2. Wellbeing Outcomes, 3. Enabling Factors) and nine subthemes (1a. Intellectual Stimulation, 1b. Positive Stress, 1c. Peer Interaction, 2a. Interpersonal Bonds, 2b. Personal Growth, 2c. Mindful Living, 3a. Integrated Support, 3b. Session Design, 3c. Mode of Engagement). Discussion This investigation provides important insights to the Singapore A-Health intervention’s effectiveness for enhancing wellbeing among older adults, as well as the factors that enable successful program implementation. These findings offer a culturally unique perspective on the benefits of art and museum interventions, while underscoring the imperative need for strong partnership and collaborations among community stakeholders in supporting the health and wellbeing of ageing populations.

Artistic interventions in communities have become increasingly prevalent in the context of quality-led urbanization and rural revitalization in China over the past decade. These art practices reflect a narrative of resistance toward the institutionalization, professionalization, and marketization of contemporary art through direct interventions in social reality. Community is the most common site from which public aesthetic action and social activism emerge to increase public awareness and promote community engagement. With the rise of new media technologies, multi-media have gradually been combined in socially engaged art projects, which has blurred the boundaries between concrete materials and virtual media as well as that between physical places and the online community. This article first outlines a literature review on the changing avant-garde spirit in both global and Chinese art history to better understand the concepts of artistic interventions. Second, as a major intervention in this field, the focus on community reflects the interflow of the theoretical search for communicative ethics and community reconstruction movements worldwide. Third, the role of the media in socially engaged art and its future implications are discussed. In the conclusion section, a variety of specific contexts in China and beyond and the various intervention aims and methods of five selected articles are introduced.

This study analyses the international street art festival Stramurales of Stornara, a small agricultural municipality in Puglia Region, Southern Italy, as an innovative participatory public health intervention for mental wellbeing through democratic urban transformation. Drawing upon frameworks from environmental psychology, resilience theory, and EnvironMental Health, we examine how community-led artistic interventions constitute health infrastructure addressing social determinants of mental health in economically marginalised contexts. Stornara represents a paradigmatic example of structural violence afflicting rural Southern Italy, where youth emigration, infrastructural deterioration, and collective despair constitute interconnected public health crises. Structural violence manifests in Stornara through economic marginalisation, inadequate public services, and systematic exclusion from political decision-making—conditions that directly produce elevated rates of psychological distress, social isolation, and community-level learned helplessness. The Stramurales model operates through three democratic mechanisms via Stornara Life APS (an open-membership association) founded by its President and Artistic Director, Maestro Lino Lombardi: voluntary participation of property owners, democratic content selection—defined here as the process by which residents collectively determine the themes, narratives, and visual language of the murals through annual community assemblies—and transparent governance preventing appropriation by local governmental élites. Drawing on comparative evidence from participatory street art in the Global South, particularly Colombia, South Africa, and Brazil, we situate Stramurales within an international body of practice that deploys art as social reconciliation and community resilience. Demographic data from ISTAT reveal that youth out-migration from Stornara declined markedly following the festival’s establishment, from approximately 180 annual departures per 1000 young adults in 2017 to 112 per 1000 in 2022—a pattern consistent with, though not causally attributable solely to, the intervention. We contend that democratically governed street art constitutes economically sustainable, accessible, and viable mental health infrastructure, offering replicable lessons for communities confronting structural marginalisation worldwide.

Recent shifts in China’s urban village regeneration strategies have transitioned from comprehensive, large-scale redevelopment to nuanced, incremental micro-regenerations, incorporating artistic interventions as a dynamic mechanism for fostering urban governance innovation. This paper examines the transformative impact of social entrepreneurship based artistic intervention within the micro-regeneration of urban villages, particularly through a case study of Aohu Village in Shenzhen. It highlights how a local artist and villager catalyzed the village’s bottom-up regeneration by mobilizing his social networks to attract artists and organize art events, significantly boosting Aohu Art Village’s profile and contributing to social innovation. This approach not only drew attention from local government but also demonstrated the potent influence of artistic intervention on neighborhood regeneration and local governance. Unlike conventional, top-down planned art villages, Aohu retains its original community fabric through community-led regeneration while also addressing challenges such as rising rents and potential displacement of artists. The case study of Aohu Art Village illustrates the critical role of social entrepreneurship in urban village regeneration, emphasizing the necessity of a balanced understanding of artistic intervention, community engagement, and sustainable urban regeneration in China’s evolving urban landscape.

This article explores the transformative potential of disability arts in Indonesia by analyzing how inclusive artistic practices challenge dominant media narratives that depict disability through pity, inspiration, or deficit. Employing a comparative qualitative approach, the study integrates discourse analysis of artworks by the Deaf Art Community and Kinanty Andini with media content review and focus group discussions before and after art exposure. The analysis reveals that disability arts foster narrative agency, shifting audience perceptions from stereotypical views to recognition of disabled individuals as empowered and creative agents. Inclusive artworks deploy symbolism, cultural authenticity, and emotional storytelling, enabling participants to engage with disability not as deficiency but as lived, multifaceted identity. Qualitative and quantitative shifts in sentiment evidenced by changes in audience descriptors and thematic coding highlight the potential of art-based interventions to reduce stigma. However, the study also notes limitations, including misinterpretation, co-optation, and inequities in access and representation. Cultural contexts significantly shape the reception of disability narratives, while digital platforms simultaneously democratize and constrain visibility. The study concludes that disability art, while not a panacea, is a critical catalyst for narrative transformation and cultural inclusion. Continued collaboration among artists, scholars, and institutions is necessary to ensure lasting impact and representation.

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Abstract INTRODUCTION The lack of racial/ethnic and socioeconomic diversity in research is an historic and ongoing crisis, especially for diseases like Alzheimer's disease and related dementias (ADRD), whose prevalence, incidence, and risk are highest among the populations most likely to be excluded. Targeted and culturally appropriate population education and engagement strategies are key to increasing participation and reducing health disparities and costs. Art‐based knowledge translation (ABKT) uses art to disseminate information and resources related to research and its findings. The Alzheimer's Association applied ABKT in the form of a groundbreaking intervention called Unforgettable. METHODS Eligible communities were at least 35% Black/African American and/or Hispanic/Latino and had a strong local Alzheimer's Association chapter. Test market touring was used to refine the intervention's messaging. Highly tailored promotion and outreach was conducted by local chapters with national Alzheimer's Association support. A live concert, information tables, and an intermission talk provided additional promotion and messaging. Post‐intervention surveys queried the intervention's messaging effectiveness and attendees’ personal experiences around caregiving and research participation. RESULTS Three hundred thirty‐four surveys were completed. Most respondents were women (89%), Black/African American (78%), and had never participated in a clinical trial (85%). Satisfaction with the intervention and its messaging was high. Barriers to clinical trial participation centered on fears of potential risks and overall lack of knowledge. DISCUSSION The success of Unforgettable demonstrates the potential for future partnerships and arts‐based health education initiatives through ABKT. By continuing to integrate culturally relevant storytelling with public health outreach and education, the Alzheimer's Association and others can further the critical and urgent mission of ending ADRD disparities. Highlights Unforgettable is a groundbreaking intervention that leverages culturally resonant art and live performance to engage under‐represented communities in Alzheimer's disease and related dementias (ADRD) research and clinical trials. Art‐based knowledge translation was used in the development of Unforgettable, which refers to the practice of using art to disseminate, engage with, or communicate about research and its findings, reducing the knowledge‐to‐action gap. High satisfaction rates and increased awareness of ADRD research were reported by participants of Unforgettable, which highlights the need for integrating culturally relevant story‐telling into interventions surrounding public health issues, such as ADRD.

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In the summer of 1990, American feminist artist Nancy Spero came to Derry, Northern Ireland, to install her mural Notes in Time on Women Part II in the heart of the Bogside area of the city. Made while the Troubles were ongoing, this installation in a charged public space on a wall which had previously been used for republican murals led to dissent from local residents who objected to this intervention into the community’s space. Thinking through the implications of the dispute, and looking to the role of the Orchard Gallery and Derry Frontline: Culture and Education, this essay considers how the project highlights the intersection of feminism, social justice, and institutional ambitions that were at work in Derry in the 1990s, exploring how art was seen by politicians, curators, and artists as a way to impact the experience of local communities and develop conversations about representation, justice, and equality.

Objective: To evaluate the effectiveness of tactical urbanism as a tool to recover and improve public space in urban areas, with a special focus on identifying sustainable and durable materials for interventions.   Theoretical Framework: Tactical urbanism is based on a series of concepts and theories that promote citizen participation, sustainability, and adaptability in the transformation of public space. Theories such as participatory planning and tactical urban design support the implementation of small-scale, low-cost, and rapid interventions.   Method: With the aim of motivating the El Churo community through art to improve the public space of the sidewalk on the community boardwalk as a strategic and tourist space, an intervention was carried out with architecture students under a qualitative methodology.   Results and Discussion: Tactical urbanism is an important part of society and human well-being, since from its origins it was the key to uniting groups with many differences but who sought a common good. Citizenship is aware of the importance of participating in the processes of building their own city.   Implications of the Research: The research on tactical urbanism in El Churo reveals a great potential to transform local communities and promote sustainable development. By empowering citizens to actively participate in the creation of their public spaces, this methodology proves to be an effective tool to improve quality of life, strengthen social fabric, and promote environmental sustainability.   Originality/Value: The research on tactical urbanism in El Churo stands out for its originality by focusing on a rural coastal community, an uncommon context for this type of study. Its value lies in demonstrating how tactical urbanism can adapt to local realities and empower specific communities. By combining participatory approaches with the use of local materials and techniques, this research not only contributes to the academic knowledge of tactical urbanism but also offers a replicable model for other communities. Its social impact, by improving quality of life and strengthening the community fabric, and its contribution to sustainability position it as a pioneering research in the field.

ABSTRACT Health disparities for Native/Indigenous youth are perpetuated by systemic bias and racism. Both the scientific literature and media play a role in maintaining disparities by telling stories through narrative or numbers that invalidate Indigenous knowledge and ways of systematic investigation, intervention, and communication regarding health and well-being. Youth were mentored by Indigenous artists to develop culturally relevant digital stories that speak to community wellness efforts, strengths, and resilience in regard to substance abuse and suicide prevention (from youth perspectives) to target root causes of health disparities by shifting narrative power to decolonial Indigenous philosophies. Together, we developed an intervention that targets the underlying root causes of health disparities by transforming the very structures upon which health interventions hinge. The realm of communication is one of these structures that is ripe with possibilities for new conceptions that uplift strength-based narratives through digital media. We created an intervention that emphasizes possibilities through positive images of Indigenous people, effectively addressing community issues by building community-based narrative power.

Climate change causes eco-anxiety among young people globally. New approaches are needed to address their well-being. This article discusses a socially engaged art process organized by the On the Frontline of the Climate Crisis research project and the Sosped Foundation in Tampere, Finland, during the summer of 2024. The art process utilizes an art-based action research methodology with reflective analysis, grounded in an ecocultural sustainability orientation. The article explores how socially engaged art and a new materialist approach can promote young people’s ecosocial participation and support them in expressing and processing their eco-anxiety and other difficult eco-emotions. Observations are made about the development of these activities and their impacts, and the broader potential of socially engaged art is discussed. It is pointed out that intra-action with materials and various forms of participation can support young people in coping with difficult eco-emotions. A trusting environment requires effort from facilitators.

Public art seeks the effectiveness of communication. In past artistic creations, the artist remained the main creator, placing their work in exhibition spaces to achieve the sharing of art, while the public, as the audience, was merely a viewer. In today’s cities, artistic creations in public spaces have become increasingly diverse, yet some marginalized groups between urban and rural areas still lack effective access to art. Some artists adopt socially engaged approaches, inviting the public to actively participate in the creation of art. In this process, the artist relinquishes exclusive authorship, transforming the original act of sharing the artwork and space into a collective social practice and shared creation. This shift removes the artwork’s role as a mere medium of art’s dissemination in public spaces and directly returns the art to the public and turning socially engaged art into a bidirectional artistic practice.

In the Yugoslav cultural and artistic space, between the two world wars, social art did not have a unified concept – stylistically, aesthetically nor ideologically. Permeated by diverse cultural and historical roots, sociopolitical challenges and material conditions, social art, however, in its diversity and plurality, insisted on active participation in transforming the existing social reality. Social engagement manifested itself through all available media, forms and strategies of artistic practice. The artist had, on one side, been employing traditional art forms to convey sociopolitical ideas and ideological messages or to express resistance and a clear anti-war attitude, while on the other side they have been exploring new artistic approaches and thus producing various avant-garde and innovative artistic expressions. By interpreting the complex sociopolitical, cultural and historical conditions in Bosnia and Herzegovina, within the context of related tendencies of Yugoslav art of the period, this paper explores the socially engaged artistic practices which aimed to activate the social function of art and affirm the social aspect of artistic practice. The paper demonstrates the measure in which the turn towards socially relevant themes also incentivised formal innovations and avant-garde breakthroughs in oeuvres of Roman Petrović, Petar Tiješić, Voje Dimitrijević and the art collective “Collegium artisticum.ˮ The paper, a segment of the broader doctoral research on socially engaged and avant-garde activity in fine arts, architecture and synthetic theatre in the interwar period in Bosnia and Herzegovina, opens new possibilities for interpreting and evaluating Bosnian-Herzegovinian social art in the said period.

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The rapidly expanding rural community (often called rurban) is a new place for CSCW with unique sociogeographic characteristics that give rise to the need for adapted participatory practices. Socially Engaged Art (SEA) offers pluralistic and critical approaches to participative rurban CSCW to meet this need. This paper provides a case study of SEA-informed CSCW in an Irish rurban community. An online digital art summer school was delivered to young residents of Northrock using freely available digital collaboration and creation tools. Young people in rurban communities are navigating personal, social and political issues in a complex and evolving environment. In this summer school, SEA was applied to explore these issues through the creation and sharing of digital art on participant experiences and hopes for the future. The summer school hoped to promote critical thinking, confrontational dialogue and greater mutual understanding. We found that rapid creation and critique of a range of digital art expressions of social issues accessed nuanced and contradictory experiences, bringing them into dialogue with each other while supporting mutual understanding and new perspectives on rurban place and identity as they evolve. We propose integrating SEA into CSCW with young people in liminal and transitional communities such as the rurban to explore complex lived experiences in pursuit of more equitable futures and sustainable community expansion. We also draw attention to the usefulness of readily available digital and online tools in supporting CSCW in creative workshop situations.

For social justice-oriented design, pluralistic participatory practices are recognised as important. This paper explores Socially Engaged Art (SEA) as one such practice, which uses dialogical inquiry to address social justice issues. We describe a case study of SEA-informed digital storytelling workshops in a rurban community in Ireland. The workshops aimed to support diverse adolescent participants in identifying and critiquing place-based social issues with a view to imagining alternative and inclusive futures. SEA was instrumental in uncovering contradictory and hidden experiences of community life. We propose incorporating SEA into design processes to: i) challenge assumptions around identity and belonging; ii) recognise diverse experiences; and iii) breakdown social-engagement barriers. As we ask questions on what design is for, who should design, and why design matters, SEA can centre marginalised experiences, support polyvocal participation and help develop participant agency to work towards more equitable futures in rapidly changing environments.

This paper presents some aspects of socially engaged art proposals, such as collaborative methods, affective relationships, and the production of the common. Currently, we observe in transdisciplinary projects and collective actions a growing focus on collaborative practices as attempts to go beyond practices strictly engrained in established institutional spaces such as museums, universities, and governmental or private spaces. With the perspective of a certain local activation of collective pieces of knowledge and practices, these artistic proposals aim at the circulation of knowledge, its integration and contamination by unusual places, narratives and methodologies belonging to each daily life. Therefore, we find in socially engaged artistic practices artistic interventions that highlight the power of affects for the production of knowledge managed in communities, making us think about what relationships consist of and how they may or may not give space for the common. We understand that by considering the power of affects and art in their political and social dimensions, we incorporate a discourse of difference that allows for other possible forms of communal living.

This paper explores activist art's potential in promoting environmental awareness and community engagement, drawing from the International Socially Engaged Art Symposium (ISEAS). Focused on a Western Lapland ISEAS event, the study highlights art workshops addressing forest use conflicts facilitated by artist-scientist teams. These workshops offer a secure space for participants to express environmental concerns, fostering creative expression and dialogue. The study suggests that art-based interventions powerfully promote environmental awareness and community engagement by creating safe spaces for collaborative dialogue. Through ISEAS experiences, the paper demonstrates how activist art facilitates meaningful community engagement, fostering a deeper understanding of environmental challenges. 

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This article sheds light on the place of avant-gardism in socially engaged art and how it is reformulated in practice, through critically examining the art practices of the Yangdeng Art Cooperatives, a socially engaged art project in a rural area of Southwest China, where artists create various collaborative artworks and site-specific projects with the local people. I argue that the project contributes to an avant-garde mode of socially engaged art through aestheticizing the ordinariness of the everyday. I term this process ‘ordinary aesthetics’. This term demonstrates potential connections in our everyday lives and redefines the relationship between aesthetics and politics by regarding aesthetics as a perceivable sensate and a distribution of the sensible. In aiming to promote the ordinary, artists engage in local residents’ everyday lives by transforming their ordinary objects, spaces, and incidents into works of art. It is art that makes their ordinariness extraordinary. Technically, the artists blur the boundary between the real and the fictional to aestheticize the everyday lives of local residents. In their practices, ordinary aesthetics consequently becomes a means to rediscover the avant-gardism of socially engaged art.

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This article considers the analytical potential of a concept of care that foregrounds human interdependencies, relational ties and the needs of others as the basis for action in analysing work, such as creative work, which is neither directly nor obviously associated with care provision. Work in the creative industries has recently become a central concern in sociology. Much of this scholarship reproduces or extends the idea of creative work as a paradigm of individualized work in contemporary societies that is characterized by high levels of worker autonomy, passion, self-expression and self-enterprise. This article challenges such theorizations by calling attention to the role of caring in creative work, understood both as an ontological phenomenon and as a relational practice of sustaining and repairing the world. Drawing on a qualitative study of socially engaged art in South-East Europe, I argue that creative work manifests itself as a labour of care and compassion.

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Rapidly expanding rural ("rurban") areas are generally discussed with regard to logistical and administrative challenges while the impact of expansion on community resilience remains relatively unexamined. This paper describes a preliminary study on rurban community resilience with a view to supporting these communities with digital socially engaged art interventions. A series of focus groups, conducted to better understand the strengths of and challenges faced by rurban communities, demonstrated nuanced notions of identity as well as identity tensions that paradoxically contribute to a sense of belonging and inclusion. We propose that engaging with this kind of 'identity work' is a necessary first step for those who wish to deploy digital SEA interventions in communities undergoing rapid changes.

This paper interrogates the political potential of socially engaged art within an urban setting. Grounded in Lefebvrian and neo-Marxist critical urban theory, this political potential is examined according to three analytics that mark the definition of ‘politics’ in this context: the (re)configuration of urban space, the (re)framing of a particular sphere of experience and the (re)thinking of what is taken-for-granted. By bringing together literatures from a range of academic domains, these analytics are used to examine 1) how socially engaged art may expand our understanding of the link between the material environment and the production of urban imaginaries and meanings, and 2) how socially engaged art can open up productive ways of thinking about and engaging with urban space.

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Socially engaged, participatory music making is slowly establishing itself as a complement to musicians’ portfolio careers, although it may still be considered of less value than established concert hall practices. To gain a better understanding of the drivers toward socially engaged practice in music field, we analyzed 20 semi-structured interviews with musicians in Finland, using the lenses of work values and career orientations. The abductive, theoretical reading analysis shows that the musicians viewed the social-relational nature of their work as a fundamental feature of the practice and sought congruence between their work values and other personal values. The interviewees renounced the hierarchy between intrinsic (autonomy, creativity, variety, achievement, challenge, and intellectual stimulation) and social work values (interacting with people, altruism, and contribution to society), and found participatory practice to be artistically freeing and personally rewarding. Their work appeared less driven by extrinsic values (economic gain and status); hence, their self-directed and values-driven orientation resonates strongly with the notion of the protean career. Although their sociopolitical stance involved the risk of weakening their professional status and they had to constantly justify their work amongst their colleagues, they all expressed conscious counternarratives to what they considered the elitism of expert culture in traditional music institutions. The study argues that the practice of socially engaged musicians can help the professional field of music reconsider and transform its stubborn value hierarchies in the complex social, political, ethical, and moral landscapes of contemporary society.

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This study aims to identify major research trends and structural connections within multicultural and arts education in Korea through a text-mining and topic-modeling approach. A total of 150 academic papers published between 2008 and 2024 were analyzed to explore how themes of intercultural competence and socially engaged art have evolved over time. Using latent Dirichlet allocation (LDA) and coherence-based validation, eight dominant topics were extracted: multicultural sensitivity, intercultural communication, arts-based integration, community engagement, policy development, identity expression, digital arts, and inclusive learning environments. Temporal and network analyses revealed a paradigm shift from cultural adaptation to intercultural understanding, and subsequently to participatory and solidarity-based discourses. The results show that Korean multicultural and arts education research has evolved from teacher-centered approaches toward learner- and community-oriented perspectives. The growing focus on socially engaged and digital arts education reflects the expanding intersection between cultural participation and civic inclusion. Moreover, the integration of interculturalism and participatory art suggests a move toward a holistic model of cultural-arts education bridging theory, policy, and practice. These findings demonstrate that multicultural and arts education in Korea has progressed from “understanding” to “participation,” and finally toward “solidarity,” indicating an emerging framework of Intercultural Arts Education. This study provides empirical evidence linking interculturalism and participatory art within educational practice and offers foundational insights for developing inclusive and community-oriented frameworks for cultural and arts education.

The performance art has become a meeting point for cultures, stimulating reflections on migration and identity. Artistic hybridization reflects the complexity of migratory experiences and the evolution of the arts in the Italian context. The company Cantieri Meticci is an example of this, transforming theatre into a space for intercultural experimentation and actively involving migrants, refugees, and artists. In doing so, the collective creates a laboratory of resistance against marginalization, invisibility, and hegemonic narratives that stereotype migrants, while promoting profound social and cultural change. Their political approach gives a voice to those on the margins, fostering the construction of an inclusive community and new shared narratives.

Since the 2000s, visual archives related to social movements, activism, community activities, and alternative cultural practices in East Asia have rapidly emerged. This “archival turn” reveals a search for new ways of defining social and communal forms and images beyond official narratives and mass media. In this paper, I use three cases of socially engaged art archival practices – namely, Archive for Human Activities (AHA!), “The Day After” and “Socially Engaged Art (SEA) CHINA” – to illustrate how artists in East Asia utilize archives as a means of social and individual articulation and conversation. The three cases of archiving practices illustrate new trends in the way archives engage in producing new knowledge and narratives for art and social/cultural practices in East Asia.

In November-December 2022, Khoj, a not-for-profit contemporary arts organization based in New Delhi, India, presented a bilingual exhibition (Hindi and English), “Threading the Horizon: Propositions on Worldmaking through Socially Engaged Art Practice”. The stimulus for this paper comes from the encounter with the fourteen research-driven, community-based projects curated at the gallery. In particular, I explore ‘the how and why’ of five artists/activists and their three projects – how they intervene in the everyday experience of negotiating violence through invisibilities, rights, inequality, and leisure by women and gendered others in the capital city, how the projects in the gallery act as sites of conversation and reflection, and why is it significant to delve into the everyday urban and digital context in which these projects unfold. The artists’/activists’ site-specific placemaking interventions are characterized by transformative processes that emerge from their close, long-term engagement, dialogue, and collaboration with participating communities and other artists/curators/designers. The first project is 5 Bigha Zameen (1 Acre Land) by the architect and artist/activist Swati Janu in collaboration with the Social Design Collaborative. The year-long project, based in Yamuna Khadar, Delhi, sought to actively support the women farmers’ rights to lives and livelihoods on the floodplains of the Yamuna River. Fursat ki Fizayen (Spaces for Leisure) by the spatial design practitioners Divya Chopra and Rwitee Mandal emerged from the leisure experience of women in Madanpur Khadar, an urban village in South Delhi. Rarely seen occupying public spaces for leisure, women reclaimed a small terrace to sit and have tea together – women whose lives were occupied mainly by household responsibilities and work outside. The third community-based project is Aao, Jagah Banaye! (Come, Let’s Make Space!) by the co-founders of City Sabha, Saleha Sapra and Riddhi T. Batra. It sought to empower informal women vendor groups in Raghubir Nagar, New Delhi, facing spatial injustice in an everyday context riddled with deeply-entrenched patriarchy. Drawing on de Certeau’s understanding of “the procedures of everyday creativity” and a Lefebvrian framework to look at spaces, the qualitative study examines women’s (artists/activists’ and the communities’) endeavours to (i) resiliently (re)imagine Delhi as an urban setting; (ii) (re)claim public spaces for leisure, and (iii) (re)configure real and online spaces (on Instagram) through the entanglements of socially engaged creative practices with quotidian experiences. The paper emphasizes the complex power relations between the artists/activists and their communities/collaborators, the bonds of care and compassion formed in and through the projects, and how they can carry forward during the various production, curation and exhibition processes. It raises the following questions: (i) How can tracing the artists/activists’ entangled praxis with diverse everyday environments and the alternative production of urban/rural, physical/online spaces and imaginaries help us expand our understanding of socially engaged creative practices? (ii) How may the artists/activists pay attention to their human collaborators and the non-human environment to create more inclusive projects, develop nuanced ways to strengthen their voices, and share their collective ideas and experiences?

This paper reflects the preliminary findings of a PhD research on the spatial politics and potentials of noise and vibration, and the affective or attractive and repulsive power of sonic force. We focus on the public space of a railway area in transformation in Brussels, where sonic conflicts are prevalent. To explore the affordances of a sonic urbanism as critical spatial practice and thus to break free from prevailing modes of urbanism which focus on sonic risk and vibrational nuisance − we constitute a working practice exploiting and nurturing the productive encounters between disciplines such as sound art, urbanism and urban architecture. By setting up an experimental design studio at the KU Leuven Faculty of Architecture, embedded in local auditory culture and in connection to ongoing planning processes, we aimed to facilitate an open learning ground for sonic design experimentation in the development of innovative sonic spatial tools and approaches. The studio was oriented to students of the International Master in Architecture summoned to research the multiple (sonic) vibrations of the L28 railway area, to exploit and contrast these vibrational forces, transforming them to into actions and opportunities. From a critical sonic understanding of urban space, students played and explored a contradictory role compared to the widespread noise control practices, reformulated environments, perimeters and relations of urban phenomena and searched for interactivity with vibrational dynamics that already exist in the territory.

Abstract Latin America has a tradition of socially engaged artists. In Mexico, since the muralist movement of the 1920s, artists have shown a preoccupation for denouncing social issues in their works. In this article, we propose the concept of Paisaje sonoro social [socially engaged soundscapes], an approach to the composition of sound art that aims to raise awareness about specific social issues experienced in Mexican society. Through the combination of oral testimony, soundscapes (both real and imagined), and instrumental and electroacoustic music, Paisaje sonoro social aims to provide a direct communication to the listener in order to draw attention to social issues such as child exploitation, migration, poor working conditions for factory workers, poverty, and children working in the touristic industry. Through the analysis of a series of six works we argue that, although Paisaje sonoro social shares features of other genres, such as soundscape composition, acousmatic storytelling, and documental sonoro [radio feature] it has fundamental differences

This visual essay has two aims. On the one hand, it is intended as a visual exploration of gentrification-induced displacement. It focuses on photographic material generated for Deptford is Changing, a research project which exposed and politicised the emotional upheaval caused by contemporary state-led gentrification in Deptford, south-east London. On the other hand, the essay presents socially and politically engaged photography as a crucial part of housing activism. Working in dialogue with housing campaigners for a shared political goal, I photographed radical interventions taking art into the streets to enact people’s emotional responses to gentrification-induced displacement. The images thus bear the traces of collective affect. I also photographed residents in their homes, with the aim of visibilising their affective connection to place and thereby evoking the emotional upheaval displacement causes. Publishing these images together with texts, making visible and audible gentrification narratives representative of residents’ struggles, exposed and politicised the shared experience of displacement, putting pressure on the council and developer to implement change. This essay argues that a socially and politically engaged image-making practice generates alternative histories, which can disrupt dominant narratives and contribute to valuable change.

The purpose of this paper is to examine the concept of participation that appears in modern cultural arts education and to examine the understanding and significance of arts education by relating this concept to solving social problems. In this study, we looked into what artistic elements are important in participatory art education. Looking at Joseph Beuys's view of art and the characteristics of socially engaged art from a cross-pedagogical perspective, it was emphasized that this series of processes in modern art is ultimately a dialogic and educational performance that recognizes others. It is predicted that the flexible expansion of these creative activities and trans-pedagogical understanding of the arts will be the significance of participatory arts education in terms of problem solving in the future.

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The objective of this text is to present narratives of artists and non-artists who participated in the platform Blind Date. Blind Date is a research and artistic platform that cultivates collaborative actions, with the cooperation of two different groups of people (artists/nonartists, visual artists/ poets, artists/refugees etc.), in connection with space and community. We will capture aspects of the discourse of the platform participants, who were investigated through in-depth interviews. The research questions deal with issues of participation in the project: what is the relationship between the Blind Date experience and social space in each project? In what way is the artistic action connected with performativity? How do the participants perceive concepts such as cooperation, participation, and collectiveness in their practice? What is the connection between participation, hospitality, and performance in the narratives of the participants? What are their expectations from participating in Blind Date? How is the experience of participating in the project reflected? Did their participation in Blind Date influence their subsequent professional career? The interview material was examined through discourse analysis and discursive psychology methodology (Potter & Wetherell 1987; Phillips & Jorgensen, 2002). The research and analysis were carried out within a sociological framework. It was important to examine sociological theories on art creators that enlighten and strengthen our analysis (Bourdieu 1993, 1995; Becker 1982, 1974; Heinich 2004; Elias 1982). Further, sociological approaches to collaboration (Becker 1974; Sennett 2012, Goffman 1972) enhanced our approach to the importance of participation, action, and performance in community and social space. The results of the interviews depict interesting perspectives of the participants that interconnect their interaction in the platform with matters and terms of ‘social space’ and ‘time’, with ‘artistic practices’. The practices and actions include performative, bodily, and participatory aspects of the interaction process of the project. The terms mentioned above link the participants with the notions of performativity, social space/community, and hospitality.

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The portfolio is a presentation of research and artistic practice used by the artist based on the role of participatory art in her collaboration with the rural Arvanitic community of the post-industrial city of Aspropyrgos. A Greek city located 18 kilometres west of Athens. An example of artistic practice is presented in the international interdisciplinary program "Amoli - Art and Culture: a collective project in the rural, post-industrial, multicultural community of Aspropyrgos" (the word 'Amoli' means to the farmers of Aspropyrgos the water through that irrigates the agricultural crops). The program is implemented in Aspropyrgos, a historically rural town, which went through a violent industrial development and is now going through its post-industrial phase, while the intense migration flow shaped the city's multicultural physiognomy. The portfolio presents the participatory actions of a diverse audience involved in the creation of the artistic work consisting of narratives, participation in agricultural work, participatory meals, walking routes, as well as holistic educational actions since the participants, despite belonging to different social groups, learn and collectively gets trained in the above mentioned actions. The above provides food for the creation of interdisciplinary visual works that are presented in rural areas, turning them into modern art spaces and bringing out questions that concern the international community, indicatively such as the value of arable land and food, the link of modern man with nature, the preservation of the cultural heritage of rural communities, the future of spoken languages. The Amoli international program through the practice of participatory art creates projects that respond to the above needs.

The research on Enhancing Artistic Creation through Participatory Development Processes in Yaowarat Chinese Community has the following objectives: 1) To design a creative process for community art that involves the participation of the Yaowarat community; 2) To create artworks that result from the active participation of the community; and 3) To evaluate the art exhibition and assess the suitability of products developed from the artworks. The research is divided into three phases: Phase 1 involves a literature review, interviews with experts and community members about Yaowarat's cultural capital, community art, participatory art, and relational aesthetics. Phase 2 consists of organizing community participatory art activities to create artworks through community involvement. Phase 3 focuses on developing the art pieces by collaborating with the community. The research findings are as follows: 1) The creative process of community-based art using relational aesthetics helps foster relationships between the community and artists. It transforms viewers into co-creators, making art a tool for communication and understanding between the community, artists, and society. 2) The development of artworks inspired by the Chinese culture of the Yaowarat community resulted in the production of three paintings, three sculptures, one video art piece, and one installation art piece. These artworks were shaped through participatory art activities with both community members and outsiders. All the artworks, therefore, arose from this collaboration between the community and artists. 3) The evaluation of the art exhibition showed a very high level of satisfaction (¯x = 4.73, S.D. = 0.493) The exhibition also allowed outsiders to participate in creating art, fostering a cultural exchange between the community and society. 4) The development of products from the paintings received high approval from experts (¯x = 4.73, S.D. = 0.070). These products, derived from the paintings, were practical for everyday use, making art more accessible commercially, and helped generate income for the community, while also promoted an appreciation of the community's identity.

Focusing on the concept of visitor participation emphasized in contemporary art, this study explored the educational effects of participatory art education programs borrowing the form of non-commercial pop-up stores. We analyzed how community competence is enhanced through the process of planning and operating temporary exhibition spaces by elementary school students themselves. This program, consisting of a total of 13 sessions in elementary art classes, was operated around student-led creative activities and cooperative experiences, and through this, students were able to accumulate experience of relationship formation, communication, and cooperation, recognize the social role of art, and expand convergent thinking. As a result of the study, the pop-up store-based participatory art program contributed to inducing voluntary participation of students and effectively enhancing sub-competencies such as community diversity, openness, subjectivity, continuous connection, positive influence, and consideration. This study suggests that participatory art education, which combines planning and experience, has a positive effect on students' formation of a sense of community and can promote the experience of social solidarity and interaction through art.

In this paper, we describe a collaborative community-based research project that centered on community members’ lived experiences, which led to the identification of key community issues that resulted in a representative art project in the form of a public mural. Eleven mothers who were long-time residents of the community were the drivers of the issue identification and mural creation. The issues identified, and subsequently depicted in the mural, revealed the importance of the environment in neighborhoods, with residents dealing with encampments, illegal dumping, prostitution, eviction, and gentrification. In the mural Mosaicos de la Comunidad (Mosaics of the Community), a group of madres (mothers) sought to emphasize their shared admiration of art as a form of remembrance of ample food, clean air, and beautiful spaces to live and raise their children. Drawing from the madres’ reflections and written testimonials, this paper describes the collective mural-making process; moving from research-based issues identified by the madres into the mural design stage, including the identification of symbols and their meanings, to the creation and painting, and the culmination with a mural-unveiling celebration. The paper ends with a description of the value of community-based art as a form of resistance and as a reminder to concretize the environmental justice issues and values that are central to community members.

The following project proposes to run the second series of participatory art activities with the Penan people of Long Lamai. The project intends to showcase how art-based methodologies can play an essential role in the urgent need to preserve Penan's identity and cultural heritage, which is currently endangered by ongoing urbanization. The activities will be centered around the production of a community mural, painted in Penan's village of Long Lamai as well as a canvas replica of the mural showcased in Sibu and part of the Borneo Cultural Festival and Participatory Design Conference. The project is rooted in following methodologies that prioritise community's needs, rather from the researcher's perspective.

ABSTRACT The political participation of youth is growing in importance with the proliferation of youth parliaments, councils, and online campaigning. Yet, these sites are not accessible to all youth, especially those from minority, or refugee communities. Activism by these types of youth is often denounced or reduced to dehumanising narratives of their experiences. This paper aims to explore alternative spaces for and political participation of refugees through participatory art and exhibition spaces, which are critical for devising policies for pre-emptive peacebuilding and challenging potential intercommunal conflict. In this paper, we draw on a Photovoice project in Istanbul, Johannesburg and a refugee settlement in South-West Uganda (Oruchinga) that brought youth from FDPs and host communities together to reflect on their everyday experiences. All these sites are marked by increasing anti-refugee sentiments and xenophobia, where the voices of refugees are often denied and misinterpreted, making them compelling cases to elaborate on alternative participation methods and spaces for the political participation of refugees. The paper engages with the idea of epistemic (in)justice and resistance as an overarching condition to explore how the youth developed collective political voices.

This article discusses the role of artistic interventions in shaping communities in selected Polish cities. It especially explores marginalized urban areas that are gaining new identities through art. A crucial aspect of the analysis concentrates on the influence of artistic activities on the formation of social bonds. Moreover, it focuses on the revitalization strategies that incorporate artistic activities designed to beautify spaces and enhance residents’ sense of security. It also includes examples of grassroots initiatives undertaken by artists in degraded areas. This study employed a qualitative methodology. In addition to reviewing the literature, a comparative analysis of case studies encompassing murals, site-specific installations, graffiti, and participatory art was conducted. The selected case studies demonstrate that art is not merely an esthetic endeavor but an important tool for solving spatial and social issues. Artists’ activities in difficult areas of a city lead to perceptual, visual, and functional changes. However, the question was whether the process of co-creation with the local community translated into stronger neighborly relationships or a greater sense of security.

Understanding social-ecological connection is paramount to adoption and long-term viability of nature-based solutions (NbS). Here, we describe a three-year trial of community-engaged participatory research (CBPR) through an artist commission program run by Engage with Nature-based Solutions (http://www.engagewithnbs.ca). The program has thus far commissioned twelve Canadian artists to contribute their artistic research to facilitate conversations about climate change and conceptualizations of NbS. The artists we commissioned created a piece of art for their local community on NbS and climate, facilitated a community-engaged workshop to share their research creation, and supported the development of an online toolkit meant to help other communities engage with NbS and climate change. We suggest that this commission program is a cost-effective way to: (i) reach a diversity of communities typically outside the reach of academia, (ii) enlarge audiences who are engaged with NbS, (iii) provide alternative formats and mediums for engagement and education on NbS, (iv) give credence to artistic work as climate work, and (v) provide opportunities for collaboration between the arts/sciences and community/academia.

In this exposition, I discuss encounters of culture that occurred in art-based action research (ABAR) with Sámi reindeer herder families in the Finnish regions of Sápmi (the Sámi homeland). Five Sámi reindeer herder families joined an ABAR -project to enhance and stabilise the Sámi reindeer herders' position in the majority society. The research project relates to the Department of Art Education's development of art-based action research, the theory of community-based art education and the concept of 'new genre Arctic art' at the University of Lapland in Rovaniemi, Finland. It is a long-term research project that emphasises participatory and co-research methods. As a researcher, I am in an insider-outsider position, as I live in the same region and share my daily life with a reindeer herder. We started the action by exploring the daily life of the reindeer herders through the Photovoice method. We gathered their photographs in an exhibition called Boazoeallin, a Davvi Sámi (Northern Sámi) word for Reindeer Life. The exhibition inspired the families to continue their visually informative work, and we designed the photographs in a book, also called Boazoeallin. The art-based collaboration with reindeer herders and the Boazoeallin exhibition and book contribute to the 'new genre Arctic art' that embraces participatory contemporary art, emphasising crucial matters of the multicultural Arctic. The Sámi people's history and culture form a destined constitution and obligation for ethical research conducted in Sápmi. The reindeer herders are unfamiliar with contemporary art, which challenged and changed the art education activities. The exposition reflects the challenges for an ethical, participatory, and democratic research approach in ABAR. In the research action, I have sought to frame the terms for which community-based art education best can serve communities of Indigenous cultures, the multicultural northern community, the Arctic, and global interests. keywords: Art-based action research, community-based art education, Sámi Indigenous people, Indigenous knowledge, participatory research, new genre Arctic art, co-research

The purpose of this study is to examine how the art festival organized by students participating in the Community Service Program (KKN) of the State Islamic University of North Sumatra in Nagori Bukit Rejo serves to enhance social interaction, promote diversity, and encourage the development of the village community.  This research was conducted using qualitative methods with a Participatory Action Research (PAR) approach, which involved observation, interviews, and documentation during the Art Festival activities. The results of the study show that the art festival not only serves as a place of entertainment, but also as a social and educational tool that can help strengthen solidarity among residents across age, ethnicity, and religion. Overall, the art festival helps preserve local culture, foster a sense of community, and raise awareness of the importance of diversity in social life.

ABSTRACT Many museums are increasingly adopting a social museology framework, positioning participation as a key educational strategy to strengthen ties with local communities. This paper examines participatory practices in art museums through the case study of Community 360°, a program developed by the Museu Nacional d’Art de Catalunya (MNAC) in Spain. From a site-specific perspective, the initiative serves as both an educational project and an evaluation tool for building relationships and alliances with the museum’s local stakeholders. Using a qualitative approach, the study analyzes the discourses and perceptions of those involved, assessing the museum’s role and relevance within its surrounding communities. Ultimately, the research demonstrates the potential of participatory museum education to transform museums into spaces of social care and offers insights into more community-oriented, collaborative, and sustainable models of museum practice.

Women constitute most volunteer water stewards in West Virginia. After having conducted participatory research on the motivations behind women’s engagement with water preservation and restoration work we carried out two participatory art-based activities. In this Practices and Curations, we reflect on these two art-based activities to facilitate networking between researchers and participants and to communicate to the wider public the role of women water stewards. Together with community partners we first organized an icebreaker for women to share a boundary object that signified their connection with water. These boundary objects were subsequently displayed in an art exhibit highlighting women’s connection to water, their reasons for care work and the consistent role they had played in environmental preservation in West Virginia. We conclude by providing incitements to our fellow academics to engage with art in participatory geographical research as a learning experience that can overturn the common researcher-researched power dynamics.

Research has documented the need for mental health services among refugee and immigrant youth. A joint collaboration on a community-based participatory research (CBPR) research project between a university, a local art and health collective, and an immigrant and refugee organization sought to identify and understand the mental health needs and strategies for immigrant youth in Philadelphia through youth discussion and engagement in a variety of art workshops. As a result of the COVID-19 pandemic, this CBPR research project was forced to make several programmatic changes, such as shifting to a virtual setting, that impacted project implementation and intended outcomes. These changes highlight valuable lessons and practical implications in pivoting a program during COVID-19 to continue working with marginalized communities with limited resources, including barriers to technology access, at a time when effectively addressing mental health for immigrant youth has become both more challenging and pressing.

This paper examines the often overlooked intersection between folk art and community health practices, emphasizing the transformative potential of folk art in fostering psychological, emotional, and physical well-being. By examining the historical and contemporary relevance of folk art as a medium for community healing, the paper discusses how cultural expressions of identity, resistance, and reintegration serve as natural therapeutic outlets. Case studies from arts-based health initiatives demonstrate the role of folk art in addressing social determinants of health, enhancing community resilience, and promoting holistic health. The review further proposes practical applications for integrating folk art into community health programs, emphasizing the need for culturally grounded, participatory, and sustainable approaches to health promotion. Keywords: Folk Art, Community Health, Cultural Healing, Emotional Resilience, Art Therapy, Social Determinants of Health.

ABSTRACT Background The drive towards living well with dementia has resulted in a growing recognition of the value of community-based participatory arts activities. This review aimed to explore their overall impact and holistic benefits for people with early to moderate stages of dementia. Methods Using a scoping review methodology and thematic analysis, this review explored relevant literature published between 2008 and 2019. Results 26 published papers were identified, comprising visual arts, literary arts, comedy, music and dance. The key themes included person-centred, in-the-moment approaches; participation and communication; attention and cognition; social cohesion and relationships; and the role of space, place and objects. Conclusions There is strong evidence in support of using participatory arts for dementia, regardless of art form. In-the-moment and person-centred approaches were deemed impactful. Further research is needed to explore the importance of setting, material culture and the methodological or theoretical perspectives in participatory arts and dementia research.

The purpose of this study is to explore the impact of community art initiatives on improving living conditions and social cohesion in the dense slum housing of Bendungan Hilir. The research employs a qualitative approach, involving in-depth interviews with community members, local artists, and NGO representatives, as well as participatory observation. These methods allowed for a comprehensive understanding of how community art influences the environment and social dynamics in the area. The results demonstrate significant aesthetic improvements, enhanced social cohesion, reduced crime rates, and improved mental well-being among residents. Specifically, murals and art installations have made the area more vibrant and welcoming, fostering a sense of community and shared purpose. The beautification efforts are linked to a decrease in petty crimes, as the improved environment discourages vandalism and other criminal activities.

Art and social sciences come together in a powerful way to help preserve cultural heritage, especially for indigenous communities navigating the challenges of modernization. This study explores how digital ethnography can bridge artistic expression and social research to document and revitalize endangered cultural traditions. Focusing on the Ukit community of Sarawak, Malaysia, the research harnesses Augmented Reality (AR), digital storytelling, and participatory art-based methods to create engaging and immersive cultural experiences. Using a mixed-methods approach, which combines ethnographic fieldwork, digital archiving, and data analysis on user engagement, the study examines how interactive digital tools impact cultural knowledge retention and intergenerational learning. The findings reveal that AR-enhanced storytelling and 3D cultural visualization significantly improve cultural retention (p < 0.001) and engagement, particularly among younger generations. To frame these insights, the study introduces the Digital Ethnography and Augmented Storytelling (DEAS) Framework, which brings together digital documentation, immersive storytelling, and community participation as a structured approach to sustainable cultural heritage preservation. However, challenges such as technological barriers, limited digital access, and ethical considerations continue to pose hurdles in making these tools widely accessible. By proposing a scalable and community-centred model, this study contributes to the broader conversation on art-driven digital heritage conservation, ensuring that indigenous voices remain central in digital preservation efforts. Moving forward, research should focus on low-bandwidth digital solutions, AI-powered cultural archiving, and ethical guidelines for indigenous digital sovereignty to build a future where cultural preservation is sustainable, inclusive, and truly community-led. JEL Codes: Z10, O33, Z13 Keywords: Digital Ethnography, Art and Social Sciences, Indigenous Heritage, Augmented Reality, Cultural Preservation.

This article is a methodological reflection of Bye Bye Binary, a community-based participatory research project (CBPR) that explored nonbinary youths’ experiences of identity development, engagement in activism, discrimination, and mental health in Ontario, Canada. The arts-informed method of body mapping was employed in a workshop format to garner the experiences of 10 nonbinary youth (aged 16–25), in conjunction with additional qualitative methods (i.e., individual interviews and reflective notes). Findings suggest that the body-mapping workshop fostered a safe environment that promoted idea generation, affirmation, self-exploration, and connections through a shared identity, thus creating “a space where people get it.” Methodological challenges that arose throughout the process are discussed, including engagement in art as “awkward,” barriers of limited time and funding, participant recruitment, and collaboration and integration. Lastly, the authors reflect on their learnings engaging in CBPR and provide insights into how researchers can move forward and apply these methods and processes into their own work engaging in arts-informed research or with nonbinary individuals.

Abstract This paper seeks to address the question of what gerontologists and humanities scholars can learn from how their respective fields engage with critical issues of age-based intersectional disadvantage, inequality, colonialism, and exclusion. The paper considers the Uncertain Futures Project, a participatory arts-led social research study based in Manchester, United Kingdom. The project explores the inequalities of women over 50 regarding issues of work using an intersectional lens. This work has produced a complex entanglement of methodological ideas that underpin performance art, community activism, and gerontological research. The paper will consider if this model can lead to a lasting impact beyond the scope of the project and beyond the individuals involved. First, we outline the work undertaken from the conception of the project. We consider the relationship between these activities and the ongoing nature of qualitative data analysis within the complexity of academic workloads and competing priorities. We raise questions and considerations of how the elements of the work have connected, collaborated, and intertwined. We also explore the challenges within interdisciplinary and collaborative work. Finally, we address the kind of legacy and impact created by work of this nature.

Participatory Design (PD) methods serve a dual purpose of facilitating the achievement of superior design artifacts by connecting the designers and developers with their end-users, as well as catalyzing democratic engagement and empowerment of the end-users. These complementary goals of engaging and empowering individuals, who not only use the designed products but are also affected by these artifacts, have proven elusive to achieve in most cases. In this paper, we discuss a PD engagement with the staff of a community-based organization (CBO) towards developing a technology tool supporting their homeless outreach services. We undertake a critical qualitative inquiry, using a Situational Analysis analytic strategy to analyze the data reflecting on the complex dynamics of democratic engagement and participation, as well as empowerment in PD. The paper further unpacks the varied dependencies and relations between the elements and the discursive constructions prevalent in the situation of a PD session. It also presents a mapping of the various PD activities against levels of critical reflection.1

: This paper compares community art education in China and Thailand, exploring their development backgrounds, conceptual goals, practices, and challenges. China focuses on government-led initiatives to enhance citizens' artistic literacy, while Thailand emphasizes the preservation of local culture and community involvement. Both countries face issues such as uneven resource distribution and low social awareness. The study suggests learning from each other's successful experiences to improve the quality and societal impact of community art education.

This paper highlights three community-based initiatives that empowered seniors, racialized immigrant women artists and street artists to share their unique perspectives. From 2021 to 2023, Contemporary Calgary and the University of Calgary collaborated with artists, community partners, and the Downtown West neighbourhood to provide programming in a repurposed light rail transit car to vitalize the community through arts. Through exhibitions at Contemporary Calgary, these artists were able to tell their stories. Visitors were able to engage with, listen to, and learn from the artists’ experiences. The programs fostered strong bonds among participants, resulting in ongoing collaboration and support. Drawing inspiration from Silverman’s (2010) concept of the museum as social worker, this paper builds on a model of care in the art musem (Eiserman, 2000) wherein contemporary art museums serve as spaces for marginalized individuals to express themselves and for communities to actively listen and respond.         

No abstract available

The “Good Enough Transformation” (GET) Project explores how grassroots art and culture organizations in nine countries—Burkina Faso, Canada, Cyprus, Denmark, France, Malaysia, Mexico, and Morocco—use creative industries to address climate change. It highlights social innovation as a key framework for both ideas and methodologies. With global environmental policies falling short of meeting the Paris Climate Agreement’s 1.5°C target, the GET project shows how local creative solutions tackle socio-environmental challenges. While individual community projects may have limited impact, collective localized actions worldwide can drive a “good enough transformation,” compensating for national government inaction. As communities combat climate change, policies must better support local green initiatives, and indigenous voices must be central to environmental policy and decision-making.

This paper explores the limits to participation in community-based approaches (CBAs) for rock art heritage management. The construction of a tourism development project at a rock art site (Wildebeest Kuil, Kimberley, South Africa) in 2001 involved two San communities in order to provide economic and cultural support. Based on the assumption that CBAs are closely linked to participation issues, which are themselves linked to past inequalities, this article analyses the multiple obstacles to community participation despite the goodwill of managers and highlights the limits of CBAs from a critical analytical perspective. To do so, we build on qualitative data from field observations and semi-structured interviews with various stakeholders. Hence, by drawing a conceptualized framework from the Wildebeest Kuil example in CBAs for heritage management, we suggest focusing on the conditions that CBAs impose on the community participation that justify them. Finally, this article draws lines toward a sustainable perspective between CBAs and community participation, and may be transferred to other case studies.

ABSTRACT Background Systemic racism in America has led to widespread racial stress and disenfranchised grief among Black communities. Two art therapists organised a community-based art therapy initiative aimed to address this grief and promote social change. Context Blooming Names took place in 2020 in Miami, FL, and provided Black families with poetry, art, and floral arranging workshops to process grief and honour loved ones lost to gun violence. These workshops culminated in public floral installations in Opa Locka and Liberty City, raising awareness of systemic racism and violence. Approach Integrating nature-based, decolonial, intersectional, and culturally humble frameworks, the initiative aimed to address systemic racism and violence through poetry, art, and floral design workshops. The project centred around public floral installations, which served as spaces for collective grief while advocating for systemic change and social justice. Outcomes The initiative needed more systematic user feedback. Collaborators expanded Blooming Names with additional workshops and trauma-informed training for K-12 teachers on gun violence. Conclusion Addressing the mental health effects of violence-related grief requires a collaborative effort from mental health professionals, community stakeholders, institutions, and society as a whole. Supporting community-based initiatives like Blooming Names is crucial for providing inclusive and accessible care across diverse communities. Implications for research Addressing the impacts of gun violence and systemic racism demands time and collaboration. Further research is needed on disenfranchised grief and the effectiveness of nature-based art therapy within Black communities. Plain-language summary Blooming Names, an art therapy initiative in Miami, Florida, aimed to address the need for community amidst the COVID-19 pandemic and the ongoing impacts of gun violence and police brutality on Black individuals. Spearheaded by two art therapists collaborating with local organisations and artists, the project utilised culturally competent frameworks to provide poetry, art, and nature-based workshops that supported disenfranchised grief and fostered personal and communal expression. Grounded in these frameworks, the initiative aimed to honour and integrate diverse cultural perspectives, empowering participants while advocating for systemic change. The project culminated in two public floral installations in historically segregated neighbourhoods, Opa Locka and Liberty City, symbolising resistance, remembrance, and resilience. Blooming Names sought to raise awareness of systemic racism and violence, reduce stigma, and promote education and advocacy, serving as a powerful catalyst for deeper community engagement and social justice.

USA has the lowest life expectancy of its peer countries and steadily increasing obesity rates. Although exercise is key to health and well-being, long-term exercise participation is a significant challenge. Therefore, the purpose of this qualitative, hermeneutic study was to examine the reasons for the long-lasting participation in a community-based aerial sling class (Flow) among adult women. Drawing on the philosophical underpinnings of techne (art) and phronesis (practical wisdom/reasoning), it was hypothesized that the techne-related elements of the Flow class (e.g., performativity, creativity, play, accomplishment of challenging skills) would be highly motivating and thus lead to the participants’ decision to continue with the class and other similar movement endeavors (link between techne and phronesis). Study participants were seven women (aged 28 – 48 years), including the class students and instructor at a major US city. The Flow class commenced in January 2024 and took place once per week for 1.15 hours. The class included skill based and performative elements such as dynamic sling choreographies. Following a show performance in May 2024, individual interviews were conducted via zoom to collect the study’s data. Based on the qualitative analysis, three themes emerged regarding the reasons for the long-lasting (at least nine months) participation in the Flow class: a) Performativity, creativity, play: creating and performing choreographies, returning to childhood; b) “Proud” feeling of accomplishment; Motivating and not boring: “does not feel like a workout”: sensing the “addictive” nature of aerial arts vs. “being bored by lifting weights at a gym”, “mentally rewarding,” “feeling accomplished”; and c) Improved strength, energy, stamina, and health: being stronger and healthier than before (e.g., improving symptoms of rheumatoid arthritis). Based on the study findings, the techne elements of the Flow class led to long-term participation in the class and other similar exercise endeavors. Therefore, exercise promoters should incorporate performative, creative, playful, and challenging elements in movement programming for long-lasting exercise participation.

ABSTRACT Introduction The global rise in forced displacement has led to an increase in occupational injustices among individuals seeking refuge, often due to restrictions imposed by government policies. Involvement in community groups has been identified as a means of inclusion, highlighting the broader role of communities in this context. Aim This scoping review aimed to identify the types of community-based groups and their potential to reduce experiences of occupational deprivation for asylum seekers, refugees, and other forcibly displaced populations. Method The scoping review followed a five-stage framework. Seven databases were searched, encompassing articles published from January 2000 to January 2023. Results A three-stage search strategy yielded 1,355 results. Following screening, 15 studies met the inclusion criteria. Findings indicated that community-based groups included community development projects (n = 5), community gardens (n = 4), sports-based community groups (n = 3), and community creative art groups (n = 3). Each demonstrated ability to enhance a sense of belonging and well-being for asylum seekers, refugees, and other forcibly displaced populations through engaging them in diverse occupations alongside local community members. Conclusion Occupational participation and engagement play a vital role in the resettlement process. Findings from occupationally focused studies provide evidence with which to challenge potentially oppressive systems by engaging with governments, non-governmental organisations, allied healthcare professions, and communities to support the inclusion of asylum seekers, refugees, and other forcibly displaced populations.

CBT has been applied and encouraged to develop in Vietnam, especially in rural and mountainous areas. CBT development meets sustainable development goals for localities and creates connections between tourism and the community. In CBT development, the community needs help to raise awareness of tourism activities and be empowered to give plans for tourism development. The study was conducted in Cam Kim, one of Hoi An rural areas. People participated in two workshops, and the PRA method was applied with two main tools: SWOT analysis and community art to achieve the above goals. Through workshops, people assessed local tourism conditions by analyzing SWOT models and were empowered to build local tourism programs. Following the above methods, a survey on people’s willingness to participate in future tourism activities was conducted. The results show that people support local tourism development and want to participate in classes to improve the quality of tourism services.

This research aims to explain the urgency of the customary values and traditions in the farming management system of the Dayak People's in Kalimantan. The approach used was Kroeber and Kluckhohn (1952) in relation with the cultural cycle. This approach is important to explain the cycle of farming management systems and their concept about nature and environment in Dayak community. In the farming context, various existing values in Dayak community has been found such as values containing togetherness, compassionate, mutual cooperation, art, ritual and spiritual aspects. This research used a qualitative method through observation and direct interviews for its data collection techniques. The findings show that there were ten stages of whole series of farming management systems of Dayak community in Kalimantan, namely inspecting the land, determining the land area, cleaning or purifying farming tools, slashing, cutting the trees, burning the land, planting, weeding, harvesting, and performing thanks giving ceremony (begawai).

The main issues of this research are: how the cultural capital operated on the field of tourism which the specific influences disposition to the tourism practice model in Sade Village and then how the mechanism of cultural capital to produce the tourism attraction, kind of tourism product and economic capital. The research uses descriptive qualitative with ethnography. Data collection, however, uses field observation, in-depth interviews, and documentation. Data validation employs triangulation, information review, and extension presence. The result showed that the community-based tourism represents the cultural practice of Sade society illustrated cultural capital. Some cultures presented on tourism practice: 1) the habit of traditional cloth making referring to heritage culture of Sade society; 2) the traditional architecture morphology style which was the complex values while it is the product of tourist consumed; and 3) the traditional art fight (presean), traditional music (Gendang Beleq) and new attractions of Amaq Tempungus danced. 

: The purpose of this study is to explore the path of art infiltration in rural community governance under interesting identity, and the role of social workers' curation and officiating in it. In order to achieve the research objective, the literature method and comprehensive theoretical analyses were used. The results of the study show that funk identity and art infiltration play an important role in rural community governance. They can enhance the cultural literacy and identity of community residents and promote community development. Social workers' curating and officiating play a key role in arts immersion. Through curation and facilitation, they help community residents better understand and appreciate art works, thus enhancing their sense of identity and participation in art and culture. In order to effectively promote rural community governance, it is recommended that the community cultural service system be improved, and that the social worker team be strengthened. It is also important to plan and organise community art activities. These measures can enhance the quality of rural community governance and improve the living standards of community residents.

No abstract available

ABSTRACT Reconstruction and governance in rural China have been a recurring theme for the last century. This article presents case studies based on Art-Oriented Rural Reconstruction Movement (ARRM) projects in Guangdong Province to analyze their modes of reconstruction, the themes they chose to engage with and their social impact, and the various social actors that dominated these projects. This study aims to answer whether ARRM provides a better mechanism as a creative mode of rural governance and whether other desired benefits, such as attracting economic resources toward the preservation of local culture or invigorating the local community, are better achieved. The cases help shed light on the question of the performativity of ruralism in connection with China’s contemporary urban practices in Shenzhen and a series of government-led art events of rural revitalization in the countryside. In doing so, they help identify what ARRM means to the ‘self-governed’ and the imagined ‘harmonious’ rural society, as well as what both mean to China.

Central Singapadu Village in Gianyar Regency is a designated tourism village, officially recognized through Gianyar Regent Decree No. 429/E-02/2017, for its preservation of local arts and culture. Guided by the Tri Hita Karana philosophy, the village promotes harmony between humans, nature, and the divine. While the development of art and culture-based tourism has adopted collaborative governance principles, its implementation remains suboptimal. Based on Ansell and Gash's (2008) Collaborative Governance Theory, initial collaboration was marked by face-to-face dialogue involving stakeholders such as the village government, tourism office, Pokdarwis (Tourism Awareness Group), and the community. The village government supports Pokdarwis through its roles as facilitator, educator, representative, and technical implementer. Despite shared commitments to community training and business development, challenges persist due to limited infrastructure, insufficient human resources, and lack of public awareness regarding Pokdarwis programs. Although initiatives such as traditional house villages, historical temples, and cultural activities are in place, their impact remains limited. Supporting factors include strong communication and cooperation between key actors, while inhibiting factors involve low community participation, limited funding, and inadequate human capital quality.

The purpose of this research to explores sustainability accounting within the Bantengan traditional art community by utilizing the Triple Bottom Line (TBL) framework, which are economic, social, and environmental aspects. It reveals that the Bantengan community possesses informal and culturally specific financial practices that reflect their local values. Despite the absence of formal accounting systems, the community engages in self-help initiatives, show an awareness of financial sustainability through collective social actions like mutual support and environmental preservation. This research highlighted the necessity for collaboration between the Bantengan community and their local government. The current collaboration tends to be more bureaucratic, lacking ongoing technical assistance.  The findings indicate a significant potential to integrate local wisdom into sustainable practices, which can enhance community resilience and help preserve cultural heritage. The research recommends that participatory governance models be established, allowing community members to engage actively in decision-making. This approach fosters ownership and accountability in sustainability efforts, finally supporting both cultural preservation and the financial viability of the Bantengan tradition.

The social sciences and humanities have become increasingly critical of the anthropocentrism that supports exploitative relations with the non‐human domain. This shift in positionality recognises that non‐human beings and ecosystems are not humankind's passive subjects but the co‐creators of shared lifeworlds. A logical consequence is a greater appreciation of the rights and interests of non‐human beings and ecosystems, both in law and in the decision‐making processes that shape human‐environmental relations. This requires some form of pan‐species democracy that simultaneously respects biocultural diversity. Drawing on ethnographic research on the River Stour in Dorset, this paper considers how we might reimagine the notion of community to encompass human and non‐human inhabitants in river catchment areas. It considers what ‘speaking for the river’ would entail, and what a river might want to say. Employing anthropological approaches to art and material culture, examining ‘what things do’, and the multi‐species ethnography that illuminates interspecies relations, this requires an imaginative leap, not into faux animism, but into serious consideration of the river as an active partner in human‐non‐human relations. This requires us to understand the river's properties and behaviours, and how it acts both creatively and destructively upon all of the living kinds that depend upon it—and vice versa. What does a river need to ensure its own flourishing and that of its dependent communities? This paper considers how ‘listening to the river’ enables the representation of its needs and interests in decision‐making processes.

Traditional villages are typical forms of farming settlements, which concentrate the essence of vernacular civilization. However, with the evolution of urbanization and modernization, the desire of villagers to improve their living standards is increasingly in conflict with the preservation of the authenticity of villages, calling for the innovation of village governance means. Based on this, this study attempts to highlight the role of multiple subjects participating in excavating the plural value of the traditional communities, in the hope of consolidating the sustained intrinsic motivation for the conservation. By using the domain theory, this study takes Yim Tin Tsai Art Village in Sai Kung, Hong Kong, as a case study to focus on the community involvement mode embodied in its revitalization and restoration plan. Through exploring the formation of cultural habitus, the logic, and the influencing factors of subject interaction, intending to provide references for addressing existing situational constraints and achieving overall development.

The increasing complexity of urban regeneration issues has recently made multi-stakeholder collaboration an important part to solve policy problems. While residents form an important part in a variety of collaborative governance processes, approaches used are often criticized as too formal, and lacking more inclusive participation. Therefore, new informal mechanisms of collaboration are sought, to ensure a more effective engagement and representation of population groups. Although community-led participation is the approach that leads to a more effective collaborative process, issues of power and inequality are a challenge in many places in planning practice [13]. Ways of civic empowerment, communication, and negotiation provide participants with transformative learning opportunities so that not only their arguments change but also the participants of the participation process themselves [6]. In order to test urban development ideas, the notion of "urban experiment" has been developed in recent years as a recognized and effective approach. The urban environment is viewed as a creative laboratory for testing the implementation of diverse initiatives and innovations [8]. The inner-city neighbourhoods in many cities are struggling to ensure vitality and liveability, thus these areas often represent a widespread location of urban experiments. In addition to these questions, the problem of community representation manifests itself in many inner cities. The potential to transform city centre streets and vacant areas into user-friendly urban spaces and the impact of those transformations on the city’s livability were recently tested by Riga municipality. Urban experiments varied in scale and form, resulting in street pedestrianization, urban gardens, and other temporary initiatives, which allowed more space for walking and cycling, street sales, social events and other activities. Thus, the aim of this article is to explore processes of testbed planning with regard to the role of community participation in the designing, implementing, and analysing phases of the experiment. After presenting the findings, the article concludes with a discussion on factors that influence public participation in collaborative governance including communication, the balance of interests, and the degree of resident involvement in decision-making.

In the early stages of the reform and opening-up, the concept of co-construction gradually entered the public consciousness. China began to emphasize community development, community participation, and grassroots governance. Over time, China has increasingly emphasized multi-party participation, democratic decision-making, and collaborative construction in urban renewal, community governance, rural transformation, and cultural development. This emphasis on social participation and collaborative construction has gradually embedded the concept of co-construction, filled with a spirit of humanistic care, into the hearts of the people. This paper aims to delve into the "publicness" in public art under the perspective of the co-construction concept. By introducing relevant concepts such as co-construction, the paper clarifies the core concept of "publicness" under the co-construction perspective. It thoroughly analyzes the inseparable relationship between the co-construction concept and publicness in public art, elaborating on how the co-construction concept influences and guides the practice of public art design.

Based on immersive participatory observation of the curatorial practice of the 2019 OCAT exhibition Rural Construction through Art in Shenzhen, we identified two modes of community-based artistic interventions: a cultural “governance/capital” intervention deeply embedded in the social structure and a collective experimental art production intervention dissociated from the social structure. However, both forms of “production art” are essentially “unities of opposites” integrating incorporation and resistance, consistent with the socialist art policy of promoting the flourishing of all types of arts. Though the aesthetic divide between “art for society’s sake” and “art for art’s sake” positions these artistic interventions in different places in society, we argue that the domain of Chinese contemporary art is shifting away from the studio and toward scenes, events, experience, and dialogue. The approach of “the era of mass art” also means that “art-as-resistance” is being legitimized as “art-as-incorporation” in a subtle but unremitting way.

This study examines the intersection of dramatic participation and decentralized creation platforms, investigating how modern technologies such as blockchain and smart contracts within decentralized networks restructure power dynamics in dramatic creation. Technological convergence shifts public engagement from passive consumption to active co-creation. Supported by Bourdieu’s "Field" theory, Habermas’s "Public Sphere" theory, and DAO (decentralized autonomous organization) theory, this research reveals the paradigm shift in technology-empowered public participation in dramatic arts and its societal significance. Decentralized platforms democratize creative authority while applying dramatic participation to community self-governance enhances public discourse expression, ultimately fostering a dramatic engagement ecology of "co-creation, co-governance, co-sharing".

The revitalisation of rural areas involves complex power dynamics and interests. This study focuses on multistakeholder collaboration within the creative transformation of villages, examining how stakeholder dynamics and identity affect project outcomes. Comparing cases from mainland China and Taiwan, it combines spatial production theory with relational art perspectives to analyse the interplay of power structures, development models, and identity conflicts in artistic community building. Findings indicate: (1) Artistic rural revitalisation must prioritise the interweaving of economic, cultural, and social objectives alongside the cultivation of local creative resources; (2) place-making initiatives strengthen local social bonds and emotional attachment through public spaces and community art; (3) non-governmental organisations, acting as intermediaries for policy implementation, enhance the social innovation efficacy of rural governance.

This study explores adaptable place-making strategies to foster inclusive public spaces in Mediterranean cities. It examines how Penang’s community-driven urban initiatives, as a successful urban planning case, can be transferred to Mediterranean contexts. Through in-depth interviews with urban planners, cultural practitioners, and community leaders, along with participant observations, successful strategies for place-making were identified. This research emphasises the role of gastronomy, cultural festivals, and street art in strengthening place identity and the significance of participatory governance in fostering long-term inclusivity. It offers evidence-based recommendations for policymakers and urban planners, advocating for an integrated approach that combines universal design principles, self-organised initiatives, and effective governance frameworks. This flexible strategy ensures that public spaces are inclusive and adaptable to diverse needs, ultimately fostering a sense of belonging and community. Keywords: Urban Inclusivity, Place-Making, Participatory Governance, Cultural Vibrancy, Mediterranean Cities

A Heritage Community is made up of people who attribute value to specific aspects of cultural heritage, which they wish, within the framework of public action, to maintain and transmit to future generations. It is the concept of ‘subsidiarity’, that is, the right/duty of every citizen or association to contribute (in addition to the enjoyment) to the conservation and transmission of the Cultural Heritage - as described by the art. 2b of the Faro Convention of CoE in 2005. Thus, was born “The Citadel of Alexandria, ‘Faro’ of Peace in Europe” (2022), CoE Community Heritage Project (Creator and Coordinator Anna Marotta) to make the most of the entire system, with a strong historical, cultural and identity value. On the VIII Annual Meeting of Rete Faro Italia (8-9 May 2024), the Association of the same name was born, for the concrete governance of the aforementioned ‘participatory process’, also thanks to the website, especially when applying for funding. Among the proposed sections, priority is the territory of defence in the Alessandria area, with periodization in history: from the Savoy to Napoleon¸ from the Risorgimento (the “District Entrenched Camp” with Valenza and Casale Monferrato) up to the resistance. Without neglecting Gavi and Tortona. The same area was interpreted through the landscape vision of the “fortresses in art”; but also, through the complementary approach to the bastioned fronts, up to the treaties, treatise makers (and not only): Gaspare Beretta; Vincenzo Maria Coronelli; Clemente Pellegrini, Antoine de Ville; Dimitriy Anichkov; Manuel Azevedo Fortes.

Street art murals (along with festivals and art districts) have proliferated in the past decade, becoming the “face” of creative cities through post-industrial urban regeneration strategies, and these efforts have been connected to gentrification in cities around the world. In this article, I consider how mobile audiences interact with street art through Instagram and propose that the “Insta-city”—a coproduction involving art, photography, location, the Instagram platform, and its users—is a site for “digital placemaking,” where new claims over neighborhood identities are made and contested. The article synthesizes the literature on mobile audiences and the city, street art as a tool for urban renewal, and Instagram as a culturally dominant visual and geo-coded social medium to create the Insta-city as an analytical lens for reimagining the active audience in the context of urban communication.

Street art can function as a tool of placemaking. It shapes how we experience, move through, and attach meaning to space, as well as how space is territorialized and bounded. Street art can be a restructuring force that changes how a space is legible or interpretable to its users, how it is used, how it is experienced, and how it forms a territory with insiders and outsiders. But how street art does this along with what kinds of impact it has varies dramatically from neighborhood to neighborhood. More specifically, the relationship between street art, placemaking, and capitalism is remarkably different in different neighborhoods. Street art can support capitalist placemarketing, or it can work toward secession from the capitalist landscape, either by preserving or by creating alternative place identities. I use three different neighborhoods in New York City—The Bowery, El Barrio, and the South Bronx—as case studies for each of the three phenomena, respectively. I end by examining a paradox that street art faces: explicitly anti-capitalist street art is easily coopted by capitalist forces that seek to commodify its aesthetic, so attempts to use street art to combat capitalist appropriations of space often (though not always) backfire.

ABSTRACT This article examines how non-institutional(ized) street art tours and DIY parties in two racialized, lower-class neighborhoods in the outskirts of Lisbon generate different results. In the neighborhood of Quinta do Mocho, these street art tours and DIY parties arise as playfulness and multicultural experiences of opening up the communities to local white middle-class visitors and tourists. In the neighborhood of Cova da Moura, these actions culminate in a cultural festival that celebrates African and Afro-diasporic cultures, promoting the visibility of the talented artists of the neighborhood. In both cases, positive representations about these territories are produced, linked to a strengthening of the sense of belonging to Quinta do Mocho’s and Cova de Moura’s communities. The article concludes by suggesting that non-institutional(ized) street art tours and DIY parties arise as pioneering actions toward challenging and decolonizing urban thinking on contemporary Lisbon.

No abstract available

A growing number of urban practitioners and scholars are interested in using digital storytelling to strengthen neighborhood connections to shared culture and build a coherent sense of place. This article contributes to this discussion by investigating how ‘urban furniture’ can sustain social capacity for digital placemaking. While traditional ‘urban furniture’ in public space is purely physical, digital-physical hybrids are emerging, from benches that tell stories to bus stops that play videos. This extended case follows the travels of an Afrofuturist piece of urban furniture: a community-hacked payphone called Sankofa Red. Our analysis triangulates findings across three installations to show how placemaking can be sustained as a social process: as part of a successful makeover of a community plaza, featured in a neighborhood history game, and in an art exhibition on race and ethnicity. We identify promising practices to adapt urban furniture and retain design collectives beyond a single placemaking installation. As a way for cities to build capacity, we propose that rotating one kind urban furniture (e.g., payphones) across neighborhoods can build the social capacity for placemaking around a shared technical foundation, while still prioritizing local needs and culture.

Introduction: Creative placemaking is a transformative strategy that fosters social cohesion, economic resilience, and cultural sustainability in Indonesia and Malaysia by reclaiming public spaces as sites of collective identity and empowerment. This study examines its impact on urban and rural development, emphasizing the role of art education in sustaining participatory initiatives. Methodology: Ethnographic fieldwork and quantitative analyses in Indonesia (Yogyakarta, Jakarta, Bandung) and Malaysia (Kuala Lumpur, Penang) reveal that artistic interventions strengthen community networks, increase economic opportunities, and promote intergenerational knowledge exchange. However, challenges include inconsistent funding, policy misalignment, and the commercialization of community-driven art. Results: Findings highlight the necessity of interdisciplinary collaborations among artists, educators, and policymakers to sustain creative placemaking. Such efforts are crucial to maintaining its long-term viability. Discussion: Integrating art education within formal and informal learning environments offers a viable model for cultural preservation and creative engagement. As urbanization accelerates in Southeast Asia, creative placemaking must remain dynamic and inclusive, prioritizing artistic integrity and community participation. Conclusion: Policy reforms are essential to ensuring creative placemaking continues as a vehicle for social innovation, cultural heritage preservation, and sustainable development. They will also keep artistic interventions community-driven and responsive to evolving sociocultural landscapes.

Urban art, particularly graffiti, has the potential to transform city environments and enhance cultural identity, yet its integration into placemaking strategies in Malaysia remains underexplored. This study examines how graffiti art can be effectively incorporated into placemaking efforts to enhance urban spaces and foster community engagement. Despite its potential to foster cultural diversity and community dialogue, negative perceptions and lack of strategic frameworks hinder graffiti's acceptance as a valuable architectural element. This research aims to bridge this gap by developing comprehensive strategies and methods to integrate graffiti into placemaking initiatives. By exploring the connections between graffiti art and placemaking elements, the study seeks to transform urban spaces and enhance cultural identity in Malaysia. Expected results include improved urban aesthetics, increased community participation, and a stronger sense of local cultural identity. The study's contributions lie in providing actionable methodologies for leveraging graffiti art to create vibrant, inclusive public spaces in Malaysia.

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The Faro Convention emphasizes the link between cultural heritage and place-related identity, highlighting their role in fostering environmental and community belonging. Urban renewal projects centered around contemporary and street art have gained popularity worldwide but often exhibit unclear impacts on local populations. Few studies have explored this topic using a psychological and longitudinal approach. Addressing this research gap, our study analyzed changes in place attachment and neighborhood image five years after implementing a street-art-based renewal project in a Milan suburb. Moreover, the project’s impact on the neighborhood’s historical “personality” as perceived by residents and citizens (n = 296) was examined. A survey was designed and administered to compare trends in these variables between 2017 (project start) and 2022, applying content analysis and analysis of variance techniques. Results showed that street art inspired by local history and culture had a positive effect on residents’ place attachment and local image, without disrupting community traditions. However, no significant impacts were found among non-residents. These findings highlight the significance of urban renewal policies that prioritize a district’s social and cultural history. Such policies not only safeguard the citizens’ well-being and foster place attachment, but could also revitalize the local imagery, promoting innovation and creativity.

ABSTRACT This study investigates the “shadow of gentrification;” that is, it examines the applicability of the concept of gentrification beyond the typical context of the global city and attempts to advance its understanding in the Global East. This topic is approached by analyzing the role of rental housing in art-led neighborhood change in Osaka’s inner city, an area shaped during Japan’s developmental period. Three characteristics of housing that facilitates art-led neighborhood change – physical features, economic conditions, and tenure type – were identified, along which the renovation work conducted by artists in Osaka’s inner city, was analyzed. The results show that the developmental inner city provides only poor conditions for gentrification driven by artists. To enable a better understanding of neighborhood change in the Global East, this study suggests overcoming the concept of gentrification by focusing on other forms of neighborhood change, and highlighting breaks instead of continuities in the local political economy.

This article explores applying a placemaking approach as a community-centered strategy for revitalizing public spaces in Medan Labuhan, a historically rich area with significant potential for local development. By employing tactical placemaking, this study offers an assessment framework to identify the community’s strengths and challenges to foster public spaces that authentically reflect local identity and enhance social connections. Through a qualitative descriptive approach and literature review, the study also adopts mapping techniques to document local activities and community preferences in public space usage. Findings suggest that active community involvement in public space planning strengthens a sense of ownership and pride among residents and contributes to the neighborhood’s well-being and vibrancy. This framework aims to serve as a foundational guide for stakeholders in creating sustainable and inclusive public spaces that improve the quality of life for Medan Labuhan’s residents and preserve its cultural heritage for future generations.

Recent decades have seen a surge in the implementation of creative placemaking initiatives in cities worldwide. Often considered a facet of a new urban vision in the post-modern era, creative placemaking aims to rejuvenate public spaces by integrating art and cultural activities in the urban design process. By acknowledging the transformative potential of art and culture and positioning them as catalysts for social change, this approach seeks to enhance livability, foster diversity and stimulate economic development in previously overlooked and underserved neighbourhood communities. Despite the realization of some promises and the abandonment of others, a critical question arises: To what extent, under the veneer of creative expression, does creative placemaking genuinely serve benevolent purposes? I argue in this essay that creative placemaking, masquerading as an art-centred strategy, is, in reality, a political urban plan aligned with the principles of neoliberal capitalism to tame the city, its public spaces and its citizens– both artists and non-artists alike.

Darağaç is a former industrial, lower-income neighborhood in Turkey’s third-largest city, Izmir. In 2015 several artists settled in the area and started a nonprofit initiative called the Darağaç Collective (DC). DC has since organized numerous art events and exhibitions, receiving considerable interest and publicity. Yet, to date, the changes in Darağaç’s material landscapes have been subtle, and the area remains ungentrified, unlike similar examples in Turkey. This article argues that the collaborative art practice spearheaded by DC played a major role in the preservation of the neighborhood’s urban texture. The artists became neighbors with the residents, benefited from the expertise of mechanics, and drew inspiration from the site, while the local community has contributed to the production, exhibition, and appreciation of artworks. Thus, art has become a tool for sociability and a catalyst for interpersonal, cultural, and cross-class exchanges, which could offer an alternative route to art-led urban change in Turkey.

This article presents a research project comprising a series of community initiatives in Edinburgh, a city which displays a disproportionately English-heavy linguistic profile, despite the cosmopolitan influences of both migration and tourism. Our case study created sites that can be conceptualised as translation spaces, where the dominant direction of translation is challenged and critiqued, or even temporarily reversed to reclaim urban space. The research team collaborated with local libraries and community centres to establish several sites of translation. This paper focuses on one key site: a series of art workshops led by refugee artists. Drawing upon the concept of translation space from Translation Studies, we explicitly thematised the role of language(s) and language exchange in these microsites, so that language traffic and dynamics could be observed, discussed, and challenged. In this way, this article contributes to the study of translation space in two aspects. Firstly, it demonstrates how contested language spaces can be analysed through translation practices manifested in various material modes, including interpretations (or, oral translations) provided by participants for one another in art workshops, and intersemiotic translation, from feelings through languages to artwork. Secondly, the paper reflects on how creating such microsites of translation can contribute to resisting the dominant direction of translation in the city.

ABSTRACT This paper examines the on-the-ground process of creative city making in the Global South. It highlights the role of the state in the development of creative cities in the Chinese context, with a specific focus on how the state has instrumentalized arts and culture in remaking old villages into creative space. Through a case study of a state-led development project of an artist village in Shenzhen, it is revealed that the local government has devised a myriad of localized practices and strategies to realize the project of creating a print art cluster in a rambling peri-urban environment. State-led rural gentrification is co-opted to generate an idyllic rural landscape replete with heritage houses to attract artists to settle, while cultural governance is implemented to redefine rural aesthetics and discipline creative production and artist practices in the village. Our study unravels that cultural production and placemaking are significantly shaped by a dominant state in highly contingent ways and may lead to contingent outcomes. While state-led culture-oriented gentrification is often deployed to attract investment and develop real estate, it also functions as a creative placemaking strategy to develop public cultural projects, civilize the public, and rebrand the city as a global creative hub.

Abstract:This essay highlights community murals as a potent tool in creative placemaking as they foreground overlooked narratives and weave them into the larger public discourse. While scholars have noted the importance of history and race in creative placemaking discourse, this essay's contribution lies in its focus on murals. The author argues that the physical and cultural landscape of Bristol, England, has been transformed through the creation of seven large-scale commemorative murals featuring noted men and women of the Windrush generation. The street murals comprising the Seven Saints of St. Pauls Art and Heritage Trail serve as a visual narrative of a more comprehensive history while also contributing to the creation of the "Black spatial imaginary."

ABSTRACT In contemporary urban development discourse, the transformative capacity of public art, particularly murals within placemaking paradigms, is a significant area of interest. This paper explores the dynamic interplay between public art and urban settings, focusing on murals as catalysts for urban revitalization. By fostering local economic growth, community participation, and socio-spatial well-being, murals play a pivotal role in urban transformation. Despite their impact, the contribution of murals in Balkan urban landscapes remains underexplored. To address this gap, the paper examines the power of murals through the ‘Street B’ initiative in Pristina, Kosovo. An evaluative framework is introduced to assess murals’ roles in regeneration and placemaking, affirming their significance in transforming urban spaces. Additionally, the regulation of public spaces and artistic creativity, emphasizing the need for clear guidelines and metrics to integrate public art into urban strategies are addressed. By advancing this dialogue, the research enriches existing literature and underscores the aesthetic and socio-functional value of murals in urban change.

ABSTRACT This paper analyzes overlaps and relationships between informality, transgression, and direct action by juxtaposing two recent examples of activist placemaking in Rome: the creation of the Kurdish cultural center Ararat and the construction of Savorengo Ker, a short-lived example of dignified housing for a Roma community. Both case studies are dedicated to a building and its transformative power for the surrounding area as well as for the status of the groups involved in the creative process. Both projects were initiated by the Italian collective Stalker, which has developed a practice on the border between art, architecture, and urban activism since the 1990s. By exploring the unstable circumstances of these initiatives, the research offers insights into the complex implications of making places through informal and transgressive means. Ultimately, the case studies demonstrate the potential of informal tactics to empower underprivileged groups and suggest a new role for planners and designers.

This study explores the intersectionality of Design for Aging, Health and Well-being, and Social Design within the intricate socio-cultural ecosystems of local communities. It underscores the efficacy of participatory design and artistic practices as instrumental mechanisms in fostering collaborative creativity and addressing collective societal challenges. Emphasis is placed on the pivotal role of university-level students in enhancing socio-political interventions, thereby positioning them as vital advocates for social justice and community empowerment. This research is exemplified through the case study of "The Neighborhood is IN(clusive)" project, spearheaded by ESAD—College of Art and Design, and funded by the Healthy Neighborhoods Program, focusing on the Cruz de Pau neighborhood in Matosinhos, Portugal.

The popular image of Tokyo is a megacity characterized by skyscrapers on one hand and by intricate, dense, and extensive neighborhood districts filled with micro‐entrepreneurs on the other. This article traces recent transformations in the city’s urban fabric that are rooted in post‐war reconstruction processes and in governmental deregulation policies initiated by the 1969 Urban Redevelopment Law, which have shaped its iconic identity. It also addresses the dual dynamics of top–down governmental and corporate‐led revitalization models, exemplified by the 2002 Law on Special Measures for Urban Renaissance, as well as bottom‐up collective efforts, such as the “machizukuri” phenomenon, which have sought to reconfigure and improve Tokyo’s public infrastructure and human environment. The article attempts a critical evaluation of contemporary approaches to sustainable urban regeneration in Japan, drawing on three recent examples of multi‐scale urban space regeneration implemented around Tokyo’s commercial streets and major transit hubs, the Tokyo Toilet Project in Shibuya, the Shimokita Senrogai Project in Setagaya, and the Azabudai Hills in Minato. Based on lessons learned during the decades of the post‐bubble economy, it outlines current trends behind these and other selected projects to illuminate how Tokyo and its commercial areas are adapting to evolving issues associated with urban decline and a super‐aging society in order to provide the services critical to the well‐being of its residents.

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Throughout Iran and various countries, the recent calls of the “Zan, Zendegi, Azadi” (in Persian), “Jin, Jiyan, Azadi” (in Kurdish), or “Woman, Life, Freedom” (in English) movement call for change to acknowledge the importance of women. While these feminist protests and demonstrations have been met with brutality, systematic oppression, and internet blackouts within Iran, they have captured significant social media attention and coverage outside the country, especially among the Iranian diaspora and various international organizations. This article, grounded in feminist urban theories of the Global South, analyzes the digital feminist placemaking movement in Iran. As the first counter-revolution led by women, the movement utilizes digital art, graffiti, and protest movements to embody women’s solidarity groups and sympathy rallies. Our analysis employs various digital research methods, including social media scrutiny and the study of protest illustrations. Analyzing the digital feminist placemaking in Iran will enable us to compare the commonalities, differences, challenges, and opportunities between the minorities and majorities in the world’s countries. The outcomes of this research can help international organizations such as Amnesty International and the United Nations Agency for Gender Equality and Women’s Empowerment (UN Women), as well as policymakers, institutions, academics, and NGOs, to highlight the various ways in which broader public participation could be encouraged in the process of digital feminist insurgent placemaking.

This work, conducted at the Núcleo de Antropologia Visual (NAVIS/UFRN), aims to carry out an anthropological research to create an Affective Map of the Rocas neighborhood, located in the East Zone of Natal, in the state of Rio Grande do Norte, Brazil. The affective map, guided by emotions, seeks to open spaces for counter-hegemonic narratives. The choice of the Rocas neighborhood follows previous research by NAVIS, which investigates tensions in the historic neighborhoods of Natal. For this work, we will use methods such as image capture, walks, assemblages, and (re)assemblages of maps. Thus, we position ourselves from knowledge that questions Eurocentric rationality, proposing confrontations to this unique, modern, capitalist, and Western episteme. The project seeks to diversify the ways of sharing results and contribute to a broader understanding of urban and visual experiences.

This study examines the relationship of blight reduction with violent crime in Baton Rouge, Louisiana. We examine whether an initiative to paint murals in high-crime areas was associated with declines in calls for service for violent crime. This relationship was assessed by analyzing variation in calls for service in the areas within 500 feet of mural installations and at the block group level over a nine-year period. Our findings suggest the influence of blight reduction strategies for violence can vary by unit of analysis and that such strategies by themselves are unlikely to be strongly associated with reductions in violence.

The article considers the practice and praxis of graffiti and street art from the perspectives of law enforcement, local government and placemaking, and between the production and consumption of this ambivalent form of cultural expression. The work is based on primary, site-based research and visualisation undertaken in Europe, North America and Australia.

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At the end of the 19th century, foreign powers invaded China, and western culture also entered China along with the army. Western commemorative statues and monuments appeared on the concessions of Chinese cities, which can be regarded as the earliest public art in China. After a hundred years of development, the connotation and practice mode of public art are gradually enriched. Nowadays, public art has become a "bottom-up" and "participatory democracy" practice, realizing the public interest of the community residents through the cooperation of government departments, community residents, and professional artists groups. Based on the "new genre public art" proposed by Susan Lacacy, combined with the advanced community art practice of Japan and Taiwan, China, this paper discusses the practical path and promotion strategy of Chinese mainland public art into urban communities believing that it is necessary to improve from three aspects: the content optimization, the multi-party participation, and the financing expansion of community announcement art.

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This Study Aims to illuminate the correlation between civic engagement and community-engaged arts. As art and politics often correlate to each other, in the early 1990's "new genre public art" has developed out of the previous traditional public art movements with decoration purposes (Lacy, 1995). These New genres have functioned as social intervention channels. this essay will carry out the study of the correlation between the new socio-political phenomenon and public art practices as: (participatory art, dialogic art, community-based art, activist art). Using Art-based research methodology the researcher intends to investigate contemporary community-based art practices and its contribution to local communities’ development. A case study on the city of Philadelphia’s Mural Arts Program is carried out in this research.

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With the development and transformation of contemporary Chinese urban areas, the production mechanism, place, and form of expression of urban public art are rapidly evolving. At the same time, urban planning is accelerating the disappearance of the urban “nearby” as a buffer zone and innovation space. Taking the Pearl River Delta region in China, and in particular, the historic city of Guangzhou and the immigrant city of Shenzhen as examples, this paper analyzes how urban groups perceive the nearby environment through the action of art through the evolution of urban culture. This paper proposes “nearby art,” a term that refers to the art form in which urban individuals or small groups from different backgrounds subtly target social issues and practice locally in complex urban surroundings. The concept of nearby art is based on the examination of trends toward diversification in public art. First, groups with different backgrounds have been playing a unique role in public art. Second, the places where public art is situated has extended to diverse and mixed urban spaces. In addition, diverse ways of interacting with public art have enriched the forms of expression of public art. Through nearby art, both creators and participants can better reflect on their present situation in life and rebuild social relations through interaction. This kind of art is increasingly becoming an important part of residents’ daily lives as it creates a more visual and fluid life aesthetic. Simultaneously, it is constructing and disseminating narrative elements within urban culture by uncovering and integrating the diverse cultural content.

Abstract This paper summarizes the social function of public art under the perspective of digital technology, takes interactive installation art as the main research path, and proposes the design scheme of interactive installation art in community public space with regard to three aspects: sense of context, sense of user participation, and practicality of the installation. Through the way of practical research, analyze the general overview of the subject area and design an installation art scheme that meets the subject area. Set up an example investigation to research and analyze how public art installations affect the interaction of community users. In response to the two installation art interaction methods, users found the operation of the installation MI to be more difficult than that of the installation MT, with the degree of difficulty for both being 3.43 and 4.016, respectively. As for the level of interest, users are more interested in the device MT with a level value of 3.781. The range of [4.3,4.5] is where the mean values of most measured indicators are concentrated in the satisfaction analysis. Meanwhile, the measured values of all the indicators are greater than 4. The overall design of the interactive installation art in the public space is good, and the community is accepting of it.

This study examines the public art programs at the Museum of Fine Arts, New York (MoFA) as a case study, conducting an in-depth analysis to explore their multidimensional impacts on urban social influence. Through a case study approach, the research comprehensively examines the design philosophy, implementation process, and societal effects of MoFA's public art initiatives across cultural development, public aesthetic education, community cohesion, and socio-economic progress. The findings demonstrate that MoFA's public art programs not only enrich urban cultural heritage and enhance city branding, but also play a positive role in cultivating public aesthetic appreciation, advancing art education, strengthening community bonds, and boosting local economic growth. The study also identifies challenges in program execution, including funding management, public engagement enhancement, and sustainability maintenance, while proposing targeted strategies and recommendations. This research not only provides valuable insights for public art projects in other cities, but also expands the academic landscape of art management studies, offering robust empirical evidence for future research.

Public art plays a growing role in shaping not just the cultural identity of a city, but also its economic landscape. This paper explores how public art initiatives can generate tangible economic benefits, from attracting tourism and investment to boosting local business activity and increasing property values. Drawing on real-world examples such as the High Line in New York, Millennium Park in Chicago, and Superkilen in Copenhagen, the research examines how art in public spaces contributes to urban revitalization and supports long-term economic development. At the same time, the paper emphasizes that public art is not merely a tool for economic gain; it is also a vital means of fostering cultural expression, community identity, and social cohesion.

This article examines the transformative role of public art—particularly murals and graffiti—during Sudan’s 2018–2019 revolution, with a specific focus on the Khartoum sit-in outside the military headquarters. Grounded in theories of counter-publics, spatial production, and protest aesthetics, the study investigates how visual culture shaped the uprising’s symbolic, spatial, and political dynamics. Drawing on field surveys, semi-structured interviews, and visual questionnaires, it analyzes 89 artworks across six key sit-in locations. The findings reveal that public art operated as a powerful tool for political expression, collective memory, and cultural identity. More than that, it reconfigured urban space into a site of resistance and community engagement, inspiring a new way of thinking about public spaces. The study challenges assumptions of spontaneity and highlights the strategic placement of murals and graffiti in shaping protest geographies. This article positions Sudan’s revolutionary art within global urban and visual movements, emphasizing art’s power to effect meaningful change and contributing to understanding how creative interventions in urban spaces can catalyze political mobilization, reinforce collective identities, and transform contested sites into arenas of resistance and community engagement during periods of social upheaval.

Against the backdrop of rural revitalisation, some public art villages have demonstrated the cultural and lifestyle conditions of different regions in the new era while coordinating the future development needs of rural areas. As a form of cultural and artistic communication and interaction with the public, public art plays a significant role in the protection and development of villages through various mediums. Public art is increasingly taking diverse forms in rural areas, with its local relevance and public nature being re-emphasised. This establishes an effective connection between the concept of ‘rural revitalisation’ and the practice of using art to empower rural areas. Simultaneously, public art and rural spaces are gradually forming a mutually beneficial, positive trend. This study takes Quanzhou's Xunpu Village as a case study, delving into the mutually empowering development pathways of public art's intervention in rural spaces, as well as the dimensions of balancing traditional cultural heritage with rural development. It provides new insights and methods for the planning and construction of rural areas.

This study explores the potential of public art to evoke hope in people who directly engage with it or actively participate in its creation. Applying an instrumental case study approach, utilizing the concept of utopianizing, and introducing the new concept of utopian potential, the research examines three socially engaged contemporary public artworks, all located in Turku, Finland. The findings highlight that in public spaces, hope for the future is often produced in action – through elements such as participatory art-making, movement, and multiple locations. These can be further perceived as characteristics of citizen art-making. 

In the post-COVID era, global financial centers are facing significant transformations, challenging traditional notions of urban space. This paper critically examines the public art and urban spaces of London's Canary Wharf, exploring how new forms of public art can serve as potential avenues for enriching civic spaces within these financial districts. We argue that outstanding public art not only mirrors the dynamic evolution of the urban financial landscape but also acts as a bridge fostering communication between commerce and community.

This study aims to explore the integration of public art and social and cultural values, and analyze the role and influence of public art in the development of community culture through in-depth study of the interaction between public art and social and cultural values. The research method adopts the case analysis method to draw relevant conclusions through an in-depth analysis of the interaction between specific public art works and community culture. The research results show that the integration of public art and social and cultural values is of great practical significance and can promote the prosperity and development of community culture. At the same time, it also provides new ideas and directions for the creation and design of public art. During the research, we collected a large amount of data through questionnaires and field interviews, and conducted an in-depth analysis of public works of art and community culture. The study found that public art not only has aesthetic value, but also has social and cultural value, which can promote the exchange and dissemination of community culture. At the same time, the interaction between public art and community culture is also very close, and the design and creation of public art works need to fully consider the cultural background and needs of the community. In addition, this study also found practical cases of public art in the development of community culture, which provides a useful reference and reference for future public art creation. In a word, this study provides a new perspective and method for the integration of public art and social and cultural values, which is of great theoretical and practical significance for promoting the prosperity and development of community culture.

This paper examines the dynamics of public art in Russia, explores the diversity of contemporary art forms beyond exhibition halls, and analyses the impact of public art on the image of “central” and “peripheral” areas, as well as on its role in urban communications between the main groups of interested parties. A review of various Russian studies provides an interdisciplinary look into the subject of public art and its evolution over time from a rather narrow definition to a wide variety of interpretations implying many new issues and concepts. Researchers attribute the increasing popularity of this artistic strategy to a combination of multidirectional factors, including the growing interest among municipal and regional authorities in public art as a driving force of territory development; a rising number of curatorial projects aimed at interacting with space and environment in the context of the festival and biennial movement and art residencies; the emergence of grassroots art organizations and initiatives as modes of making artistic or public statements. Remarkable progress in digital technologies prompted attention to the creative potential of digital forms in public art, which open up new possibilities for interaction at the interface of objective and virtual reality. Some of the conclusions suggest that further development of public art presupposes more attention to its social nature and the ability to create social ties through a polylogue between different groups of city dwellers. To encourage the development of urban art based on the principles of social justice, Russia needs to foster a culture of participation as opposed to social atomization. The creation of professional organizations, legitimization and support of grassroots initiatives and artistic self-organizations may prepare the groundwork for this process.

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With the deep integration of computer technology and public art, the digital characteristics of public art become more and more obvious[1]. The digital public art takes the public environment of the city as the carrier, which occupies every corner of the city and develops steadily. The diversified performance media and all-round sensory experience make it an alternative public art with unique expressive force. At present, the manifestation of digital public art tends to be diversified, and its influence on urban culture is more and more profound and complex. Therefore, from the perspective of Media Ecology, this paper explores the characteristics of public art in the computer age. On this basis, this paper analyses the impact of public art integrated with computer technology on urban culture, which provides a new thinking direction for the harmonious development of public art and urban culture.

This paper aims to study how public art teaching can better promote the application of public art design in the construction of beautiful rural area. Taking public art as the starting point, and based on the status quo of beautiful rural construction, it explores the interaction relation between public art teaching and beautiful rural construction, and puts forward new teaching ideas and its implementation and application. Keywords—public art; project-based teaching; beautiful rural area; "double integration" mode

The proposed article focuses on an analysis of Berlin as a model for urban intervention, with proposals, both for the urban rehabilitation and for new works. The central district of Kreuzberg, will be studied taking into account that it is nowadays a place of artistic and bohemian focus, considered an integral part of the one of the main enclaves of power and culture in Europe. Local characterization will be carried out from the point of view of urban development and sociocultural transformation, as well as the artistic manifestations that are evident in public space, such as graffiti, which modify a surrounding urban space, either permanently or temporarily. Finally, in a logic of zooming on the city, a proposal will be presented for an urban void in a block at Kreuzberg east neighbourhood, which is associated with several manifestations against the gentrification processes therein. Throughout this study, it should be noted that it is still currently a challenge to define measures for the benefit of its inhabitants, leading the city in a direction that is advantageous and enriching for all, not yielding to economic interests of speculation. Therefore, an urban revitalization can and must motivate creative interventions in relation to public art, making way for the new urban planning models in city centres, pointing to more free and connected alternative lifestyles.

Social capital as a whole of actual and potential resources related to ownership is based on mutual knowledge and recognition. In Nangrak Village, it is manifested by a thick tradition with the value of Sabilulungan. This study aims to determine the value of sabilulungan as a form of social capital in Mapag Menak in community empowerment at the Saung Langit cultural arts hermitage, Nagrak village, Bandung regency. This research uses a descriptive method with a qualitative approach. As for the data collection technique, namely the documentation method, which is sourced from books, journals, and other literature, then conclusions are drawn. The results show that the people of Nagrak Village show this social capital through social relations/interactions during Mapag Menak. Social solidarity is demonstrated by the presence and participation of all citizens in preparing for the completion of the tradition, as for the trust of the people who accompany the series of traditional processions that are carried out. The tradition in the Nagrak Village community is Mapag Menak which all community members must carry out. Then, the norms and values in the Nagrak Village community are proven by the agreement on rules that need to be obeyed when conducting Mapag Menak.

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This research aims to find out economic growth in Kandri village area, social and political structure of society, and tourism actor groups’ adaptation to tourism village’s attraction. From the result of research, an inclusive model for tourism village development was created through community empowerment. This research took place in Kandri Tourism Village, Gunung Pati Sub District, Semarang City, Central Java, Indonesia. The research used qualitative method with case study approach. Result of research shows that following tourism development in Kandri Village, economic growth occurs faster than the previous one. The figures establishing Tourism-Conscious Group (Pokdarwis) are important agents in the change and development of tourism village carried out through community empowerment. Members of Pokdarwis including farmers, artists, homestay owners, food producers and souvenir producers adapt by engaging in various tourism activities. Integration of natural potency and art and community participation is an important factor in a successful community empowerment for developing Kandri inclusive tourism village.

Indigenous knowledge in Maharashtra from Warli painting to traditional uses of wild plants and non-timber forest products (NTFPs) is both a cultural asset and an economic opportunity for tribal communities. Appropriately designed intellectual property rights (IPR) tools like Geographical Indications, collective trademarks, defensive documentation, and benefit-sharing contracts; can protect these resources from misappropriation while creating sustainable livelihoods. This case study examines four Maharashtra examples for Warli art; documentation of tribal botanical knowledge in Jawhar/Palghar; NTFP livelihood studies to draw lessons about how IPR and community-centered approaches can contribute to Viksit Bharat by empowering tribal communities economically and socially.

Celempungan art is a traditional Sundanese musical heritage that is gradually being marginalized by modernization and the influence of global culture. This community service project aimed to revitalize Celempungan through intergenerational collaboration at Sanggar Kaboa Pariuk in Cicalengka, Bandung Regency. The program consisted of socialization, workshops, training, mentoring, artistic performances, and digital promotion. The results demonstrated increased youth participation, improved artistic skills, strengthened community awareness, and enhanced economic opportunities through cultural products. The findings highlight that cultural revitalization programs require both traditional transmission and the integration of digital technology to ensure sustainability.

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The research discussed that the woman dalang was still not considered equal to male ones in shadow puppetry performances despite being developed in the Mataram Kingdom era. Various reasons caused this phenomenon, such as the audience's preferences for men's dalangs. To respond to this condition, an all-women's karawitan community, Rara Asmoro, emerged in Surakarta to give support to many women who love wayang arts. This community sought to embrace these women's potential to then jointly promote and strengthen their skills in the field of Javanese art and culture. The research attempted to analyze the organizational culture formed in the Rara Asmoro community as an effort to empower women in the Javanese wayang art. The research applied a qualitative descriptive method to obtain a complete picture of the problem by interviewing the leader of Rara Asmoro and its four members. It finds a significance of the leader in empowering its members, fostering their confidence and talents, and expanding their opportunities for networking within the Wayang world. The dynamics of the organizational culture in the community allow everyone to switch roles: as a dalang, as a karawitan player, and as a singer, which opens opportunities for all members to have added value and skills. Conflicts are always resolved in a democratic and respectful manner, in which the leader keeps all of her members close as a family. However, internally, concertive control has not been fully implemented in the organization as it is still centralized on the leader.

With the in-depth implementation of the Chinese rural revitalization strategy, the integration of art and fashion elements has brought new vitality and development momentum to rural areas. Based on the theory of aesthetic needs and cultural empowerment and community participation, this paper proposes specific mechanisms about how to enhance environmental aesthetics, form cultural identity, and community participation and also how to increase tourism attraction through art fashion. This paper analyzes the main challenges encountered in the implementation of art fashion empowerment, including the unbalanced allocation of resources, the adaptability of cultural differences, the balance between sustainability and economic benefits, and the lack of education and training. Based on this, the paper puts forward an effective path to realize the rural action of art fashion empowerment, including the combination of comprehensive art and local characteristics, the support of policies and funds, the continuous promotion of community education and the innovation of cross-field cooperation. By integrating arts and local characteristics, strengthening policy and financial support, building education systems, and promoting cross-sectoral cooperation, we can inject lasting vitality into rural revitalization. This paper deeply analyzes the application of art fashion in rural areas and its positive impact, aiming at providing a new perspective and practical path for rural revitalization, making it an important force to promote the overall development of rural areas.

Karang werda wisanggeni is an association that was established in 2004 in the Cemandi Village area which is used to accommodate the activities of the elderly. The existence of this activity encourages the productivity of the elderly in self-development activities, in order to strengthen socio-economic functions. In addition, the empowerment of elderly centers at the age of 60 and over is a place for the elderly to be productive in order to increase life expectancy. The benefits of having karang werda wisanggeni elderly are as a shelter, guidance, and an elderly integrated health service post. The dedication method is the title event by going through three stages, namely the preparation stage, the empowerment stage, and the closing stage. One of its forms is to create activities to commemorate Mother's Day by involving the elderly. The elderly performed Reog Cemandi art to commemorate Mother's Day. This opportunity is a form of increasing social welfare for the elderly. In essence, the elderly can play an active role in social life, so that the elderly can be more productive in increasing life expectancy. In the next service, you can actively involve the karang werda Wisanggeni elderly in Cemandi village.

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Introduction: The text focuses on a series of projects developed by Portuguese artist Alexandre Farto, aka Vhils, which involved local communities in collaborative artistic practices. Methodology: The artistic practices analysed are part of the methodology known as community-based art. The data was analysed by observing these projects and interviewing the artist. Results: Taking two of Vhils's projects that involved community participation as a starting point, we analysed them based on the documents collected, namely videos, photographs and interviews. Discussion: The visual and discursive dimensions of these projects and the information gathered from the artist who mediated this whole process allowed us to access a set of meanings that crossed artistic, social and political domains. Conclusions: The articulation of these domains in the context of artistic processes that require community participation allows their impact to be significantly amplified, since it promotes greater engagement, empowerment and social cohesion in that community.

This paper examines how art is used as a powerful tool within community health initiatives to foster social well-being, mental resilience, and community cohesion. By engaging individuals in creative expression, art programs provide a means for connection, self-reflection, and emotional release, which can lead to improved mental health outcomes. Art initiatives across various communities serve as catalysts for dialogue, resilience, and empowerment, addressing health inequities by creating safe spaces for shared experiences and healing. Through case studies, this paper examines the impact of artistic involvement on individuals and communities, emphasizing how art can bridge social divides, amplify marginalized voices, and support holistic health strategies. The findings emphasize the potential of art as a public health strategy, promoting community-driven health solutions that are responsive, inclusive, and transformative. Keywords: Community Health Initiatives, Art in Public Health, Mental Health and Art, Social Well-being, Art Therapy.

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This work considers the ways in which the cultural events in the US have impacted the confidence of the South Asian women and the way they view themselves in various social environments. With the increased migration of South Asians to the cities and towns in the United States, fairs, festivals, concerts, and art shows are gaining relevance as cultural events. Here women will be able to connect with their origin, demonstrate their identity, and feel more positive about themselves. Diaspora theory, socialization theory, and intersectional feminism will be applied in the study to examine how such occurrences assist women to cope with the multifaceted culture of their home nations in respect to their lives in the United States. Its approach will involve the combination of such methods as interviews, observation of the community, analysis of events, and data provided by the U.S. Census Bureau and the Pew Research Center. The findings therefore show that the involvement in the cultural activities promotes leadership, intergenerational relationship and civic participation. Majority of the women begin by volunteering or performing and with time, most of them end up becoming organizers, advocates and community developers. In both these roles, they become more visible to the outside and inside of their ethnic community. Notably, the paper identifies the establishment of social capital as a result of such endeavors as the women learn skills and contacts useful in politics, lobbying, taking governmental offices. The study recommends that there should be greater institutional backing and enhanced government funding of cultural programs that are led by women to appreciate their input towards arguments of inclusion and social integration.

This study analyzes the potential of local wisdom in the development of tourism villages in Indonesia, with a focus on local economic empowerment. Local wisdom, which includes traditions, culture, art, and social systems, is often not documented or utilized to its full potential in the tourism sector. Through a qualitative approach, this study explores how local wisdom can be used as the main attraction in the development of independent and sustainable tourism villages. Several tourist villages that have managed local wisdom effectively, such as Osing Village and Reog Village, are used as examples in this study. The findings show that although many villages have great cultural potential, many have not yet utilized digital technology in promoting their local wisdom. Better documentation and the use of technology such as digital platforms can increase the visibility of tourist villages and expand the market. In addition, local economic empowerment is achieved through the management of local wisdom that involves the community in all development processes. This study provides recommendations for strategies to optimize the utilization of local wisdom, including increased documentation, community involvement, and the use of digital technology, to create highly competitive tourist villages and make a real contribution to local economic empowerment.

This article explores the role of participatory mural art as a catalyst for community development, symbolic dialogue, and place-based identity formation in Kaunas, Lithuania. Drawing on community mural projects across distinct urban neighborhoods, the study employs a multimethod qualitative design that combines ethnographic fieldwork, semistructured interviews, participatory observation, and multimodal semiotic analysis. Using MAXQDA for thematic coding, the analysis reveals how co-created murals foster social capital, intergenerational exchange, and spatial transformation by enabling residents to inscribe their stories, memories, and values into the built environment. The findings show that murals serve as more than aesthetic interventions; they operate as sites of community empowerment and symbolic negotiation. Through acts of storytelling, shared labor, and creative dialogue, community members re-signify urban space and articulate belonging in ways that are emotionally resonant and locally grounded. Cases highlight how symbolic choices reflect both cohesion and contestation, while illustrating how visual representation of daily life can reinforce place attachment and visibility. The article contributes to the fields of community development and urban communication by proposing an integrated framework that synthesizes social capital theory, place attachment, participatory design, and multimodal semiotics. It argues for recognizing community-engaged mural art as a form of visual citizenship and participatory infrastructure with the power to reshape relationships, activate dialogue, and strengthen the social fabric of neighborhoods in transition.

Meaningful change through service learning can only occur If service learning leaders build "embedded" relationships with community organizations. The paradox is that the mora engaged the relationship, the more intense the issues of race, class and power. Institutional racism tempts white activists to assume they know what Is best for a community. If they give in to this temptation they risk co-opting the community's agenda and diminishing the possibility for legitimate empowerment. Well-meaning service learning professionals must learn to navigate these risks by becoming allies rather than leaders in community organizations.

This comprehensive study examines the multifaceted role of art education in Pakistani society, addressing its historical development, current challenges, and potential for fostering cultural preservation, social cohesion, and individual empowerment. Through analysis of existing literature and case studies, this research explores how art education intersects with decolonization efforts, gender dynamics, and cultural sustainability in a complex socio-political context. The findings reveal that despite systemic challenges including inadequate resources, colonial legacies, and cultural perceptions, art education presents unique opportunities for promoting critical thinking, cultural empathy, and economic empowerment. The study highlights the remarkable progress in female participation in art education while noting persistent structural barriers. It proposes a framework for art education reform that integrates culturally responsive pedagogies, community-based approaches, and digital technologies. This research contributes to ongoing discussions about educational transformation in Pakistan and offers insights for policymakers, educators, and cultural practitioners seeking to leverage art education for social development. The findings demonstrate that art education, when properly conceptualized and implemented, can serve as a powerful catalyst for social change, cultural preservation, and individual agency in Pakistan.

This article explores the integration of tribal, indigenous, and community-based knowledge into experiential learning through hands-on projects, with a focus on the Warli community in Maharashtra, India. By employing a qualitative case study approach and systematic document analysis, the research examines how Warli art and storytelling can be effectively woven into environmental education to foster cultural transmission, ecological awareness, and community empowerment. A comprehensive review of Indian and international literature supports the study’s conceptual framework, highlighting the importance of context-sensitive, participatory, and culturally responsive methodologies. The findings reveal that such experiential learning projects not only enhance student engagement and pride in heritage but also empower local artists and elders as educators. However, challenges such as limited resources, lack of teacher training, and initial resistance from stakeholders persist. The discussion emphasizes the necessity of methodological rigor, deep community involvement, and ongoing validation through systematic review and triangulation. The article concludes by recommending collaborative efforts among educators, policymakers, and communities to ensure that indigenous knowledge is preserved and revitalized within India’s educational landscape, thereby promoting sustainable and inclusive development. Keywords: Experiential learning, Indigenous knowledge, Warli art, Community-based education, India

Abstract This article examines the concept of ‘heritage’ in the context of ‘landscapes of care’, which approaches care as a means of fostering connections between humans and non-humans. Heritage care involves communities actively engaging with and benefiting from cultural heritage in various ways. Establishing a caring landscape for heritage involves empowerment, participation, and collaboration, as demonstrated by two community-driven heritage projects in Pionta’s cultural landscape. The first project aims to create a community that strengthens the emotional bonds between individuals and their cultural legacy by promoting acts of care. The second introduces diverse participatory and art-based methods that cater to the needs of the involved groups and foster a shared sense of care for their heritage. By using heritage education and serious games as empowerment tools, the projects show how collective heritage caring can change the visual, verbal, and mental representations of a marginal heritage landscape from the community’s perspective.

ABSTRACT The Aravani Art Project is a trans-women and cis-women-led art collective dedicated to transforming public spaces into platforms for visibility, inclusion, and dialogue for the transgender and LGBTQIA+ communities. This paper explores how community-based public art initiatives can serve as powerful tools for social change, empowerment, and healing among marginalized gender identities. By facilitating collaborative mural projects, workshops, and street art interventions, the collective challenges dominant narratives around gender and advocates for reclaiming public spaces as safe, expressive, and inclusive environments. The study critically examines the intersectional approach adopted by the Aravani Art Project, which integrates cis-women from marginalized backgrounds to widen the scope of social justice through creative engagement. Additionally, the project creates alternative livelihood opportunities for trans individuals by professionalizing their artistic contributions. Through an ethnographic lens, this paper reflects on the impact of visual storytelling, shared authorship, and community dialogue in reshaping perceptions and fostering dignity, agency, and cultural memory. The findings reinforce the potential of art as both a social practice and a medium for grassroots advocacy in advancing gender equity and collective well-being. Keywords: Transgender visibility, community art, gender inclusivity, public space, intersectional feminism, social practice art, LGBTQIA+ empowerment